商代“坐”姿人形雕像研究
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摘要
商代的坐姿人形雕像是商代独特的艺术塑造之一,发现较多,主要集中发现于安阳和成都两地,从材料上看有玉、石、青铜,也有陶塑。所塑造的人物衣着、发式、面貌不同,可分为四种类型,其时代大多属于殷墟二期到殷墟三期,也有部分晚至商末周初。关于坐姿人形雕像的身份属性,我们认为可能反映了不同族属、不同部落、不同方国、不同身份的人物形象。这些人物形象的塑造不仅反映了商代的生活起居、巫术祭祀等文化习俗,也可能有夸耀武功、宣扬权威的目的。
A considerable amount of sitting human figurines of Shang Dyansty have been excavated, mainly in Anyang and Chengdu. As unique artistic creations of that particular era, these figurines are made of jade, stone, bronze and pottery. According to varied dressing, hairstyles and visage, these figurines can be categorized into four types. Most figurines date back to the second and third phases of Yinxu; some were made during the time from late Shang to early Zhou. It is speculated that the sitting human figurines modeled people from different ethnic groups, tribes, feoffments and social strata. Reflecting the culture and customs of Shang Dynasty like the daily life, witchcraft and sacrifices, these figurines were possibly created to flaunt power and publicize sovereign.
A considerable amount of sitting human figurines of Shang Dyansty have been excavated, mainly in Anyang and Chengdu. As unique artistic creations of that particular era, these figurines are made of jade, stone, bronze and pottery. According to varied dressing, hairstyles and visage, these figurines can be categorized into four types. Most figurines date back to the second and third phases of Yinxu; some were made during the time from late Shang to early Zhou. It is speculated that the sitting human figurines modeled people from different ethnic groups, tribes, feoffments and social strata. Reflecting the culture and customs of Shang Dynasty like the daily life, witchcraft and sacrifices, these figurines were possibly created to flaunt power and publicize sovereign.
引文
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[2]杨泓.说坐、跽和跂坐//杨泓,孙机.寻常的精致.沈阳:辽宁出版社,1996:4,5.
[3]河南省文化局文物工作队.郑州二里岗.北京:科学出版社,1954:31.
[4]中国社会科学院考古研究所.殷墟妇好墓.北京:文物出版社,1980:151~153.
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[7]徐鹏章.我市方池街发现古文化遗址.成都文物,1984,(2).
[8]陈显丹.广汉三星堆遗址发掘概况、初步分期-兼论“早蜀文化”的特征及其发展//四川大学博物馆.南方民族考古(第二辑).成都:四川科学技术出版社,1990:223.
[9]巫鸿.眼睛就是一切:三星堆艺术与芝加哥石人像//郑岩,王睿,编.礼仪中的美术.北京:三联书店,2005:75.
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[11]成都金沙遗址博物馆.金沙遗址.北京:五洲传播出版社,2006:90.
[12]同[9]:70~86.
[13]陈志达.殷代王室玉器与玉石人物雕像.文物,1982,(12).
[14]同[4]:151.
[15]同[10]:26.
[16]成都市文物考古研究所,北京大学考古文博院.金沙淘珍-成都市金沙村遗址出土文物.北京:文物出版社,2002:174.
[17]同[16]:181.
[18]同[16]:166.
[19]同[1]:496.
[20]同[4]:232.
[21]同[4]:340.(下转107页)
[22]常任侠.古磬.文物,1978,(7).
[23]同[10]:444.
[24]吴怡.成都方池街出土石雕人像及其相关问题.四川文物,1988,(6).
[25]同[9]:85.
[26]黄剑华.金沙遗址出土石雕人像探析.中华文化论坛,2004,(1).
[27]宋兆麟.巫与巫术.成都:四川民族出版社,1989:87.
[28]宋镇豪.夏商社会生活史.北京:中国社会科学出版社,2005:130.
[29]巴林右旗博物馆.内蒙古巴林右旗那斯台遗址调查.考古,1987,(6).
[30]张绪球.石家河文化的陶塑品.文物,1991,(3).
[31]同[9]:82.
[2]杨泓.说坐、跽和跂坐//杨泓,孙机.寻常的精致.沈阳:辽宁出版社,1996:4,5.
[3]河南省文化局文物工作队.郑州二里岗.北京:科学出版社,1954:31.
[4]中国社会科学院考古研究所.殷墟妇好墓.北京:文物出版社,1980:151~153.
[5]梁思永,高去寻.侯家庄:1004号大墓.台北:历史语言研究所,1970:41.
[6]中国社会科学院考古研究所.殷墟的发现与研究.北京:科学出版社,1994:376.
[7]徐鹏章.我市方池街发现古文化遗址.成都文物,1984,(2).
[8]陈显丹.广汉三星堆遗址发掘概况、初步分期-兼论“早蜀文化”的特征及其发展//四川大学博物馆.南方民族考古(第二辑).成都:四川科学技术出版社,1990:223.
[9]巫鸿.眼睛就是一切:三星堆艺术与芝加哥石人像//郑岩,王睿,编.礼仪中的美术.北京:三联书店,2005:75.
[10]四川省文物考古研究所.三星堆祭祀坑.北京:文物出版社,1999:26,169.
[11]成都金沙遗址博物馆.金沙遗址.北京:五洲传播出版社,2006:90.
[12]同[9]:70~86.
[13]陈志达.殷代王室玉器与玉石人物雕像.文物,1982,(12).
[14]同[4]:151.
[15]同[10]:26.
[16]成都市文物考古研究所,北京大学考古文博院.金沙淘珍-成都市金沙村遗址出土文物.北京:文物出版社,2002:174.
[17]同[16]:181.
[18]同[16]:166.
[19]同[1]:496.
[20]同[4]:232.
[21]同[4]:340.(下转107页)
[22]常任侠.古磬.文物,1978,(7).
[23]同[10]:444.
[24]吴怡.成都方池街出土石雕人像及其相关问题.四川文物,1988,(6).
[25]同[9]:85.
[26]黄剑华.金沙遗址出土石雕人像探析.中华文化论坛,2004,(1).
[27]宋兆麟.巫与巫术.成都:四川民族出版社,1989:87.
[28]宋镇豪.夏商社会生活史.北京:中国社会科学出版社,2005:130.
[29]巴林右旗博物馆.内蒙古巴林右旗那斯台遗址调查.考古,1987,(6).
[30]张绪球.石家河文化的陶塑品.文物,1991,(3).
[31]同[9]:82.