鲁中南和鲁北地区彩(绘)陶艺术的比较研究——以大汶口和焦家遗址为例  

A Comparative Study of Coloured-pottery(Painted-pottery)Art in South Central Shandong and Northern Shandong--Taking Dawenkou Site and Jiaojia Site as Examples

作　　者：武昊 王芬[1] WU Hao;WANG Fen

机构地区：[1]山东大学历史文化学院,山东济南市250100

出　　处：《华夏考古》2023年第1期70-80,共11页Huaxia Archaeology

基　　金：国家社科基金重大项目“章丘焦家遗址发掘报告(2016~2017年)”(18ZDA227);“中原与海岱地区文明化进程研究”课题(2020YFC1521602)的资助。

摘　　要：大汶口遗址与焦家遗址,作为分处泰山山脉南北两侧的两处大型中心性聚落,至迟在大汶口文化中期前段,在彩陶及彩绘陶上已然拉开了交流与互动的序幕。此过程中两地彩(绘)陶的发展轨迹并非亦步亦趋,反而在此消彼长、相互影响的演进中各自形成相对独立的风格和特点。以两遗址为代表的鲁中南和鲁北两地区的彩(绘)陶制作者在相互学习与借鉴中迸发出诸多创意与灵感,共同促成海岱地区史前彩(绘)陶艺术的较高水准。Dawenkou and Jiaojia,two large,central settlements located on the north and south sides of the Tai mountains,had begun to communicate and interact with each others no later than the early phase of the Middle Dawenkou culture,reflected in the pained potteries.Despite the continuous interaction with depth,the incorporation of external factors did not shake the position of local traditions,which implied the equal development with parallel trajectory between these two sites.Inspiration broke out from the mutual learning and reference between the potters,which jointly contributed to the exquisite art of painted pottery in the Haidai region.

关 键 词：大汶口遗址 焦家遗址 彩陶 彩绘陶 对比研究 

分 类 号：K876.3[历史地理—考古学及博物馆学]