良渚线刻磨光黑陶研究  

Research on the Liangzhu Incised,Ground,and Polished Black Pottery

作　　者：赵潇涵 ZHAO Xiaohan(Shanghai,200433)

机构地区：[1]复旦大学文物与博物馆学系,上海200433

出　　处：《江汉考古》2024年第3期72-82,共11页Jianghan Archaeology

摘　　要：带有精细线刻纹饰的磨光黑陶在良渚文化晚期开始流行,其图像特殊、技术难度高,成为一种新型奢侈品。已有研究大多关注其中心图像的类型和意义,而技术和艺术风格方面讨论较少。这种新产品明显受到玉器的启发,此外也能找到长江下游自河姆渡文化以来的各类技术和艺术传统的痕迹:内容上,黑陶线刻纹饰与良渚玉器在主体—背景构图以及部分装饰元素和母题上存在相似之处,而类似的艺术风格早在河姆渡文化就出现过;技术上,玉器锥刻技术为陶工的雕刻提供了工具和技法,打磨抛光技术或许也被陶工吸纳使黑陶呈现光泽效果。跨材质的手工业技术交流为进一步研究良渚手工业技术选择和工匠组织提供线索。In the late period of the Liangzhu culture,finely incised,ground,and polished black pottery became popular,featuring unique imagery and great technical challenges,evolving into a new luxury item.Existing research has mostly focused on the types and meanings of central motifs and paid less attention to technical and artistic styles.This new product was inspired by jade artifacts and shows traces of various technical and artistic traditions from the lower Yangtze region since the Hemudu culture.In terms of content,similarities can be found between the incised decorations on black pottery and Liangzhu jade artifacts in composition,decorative elements,and themes,with similar artistic styles dating back to the Hemudu culture.In terms of technique,the carving techniques used in jade artifacts provided tools and methods for potters,and the polishing techniques may have been adopted to give black pottery a glossy finish.Cross-material artisanal technology exchange provides clues for further research on selecting techniques and artisan organization in Liangzhu craftsmanship.

关 键 词：良渚文化 线刻纹饰 磨光黑陶 技术交流 

分 类 号：K871.1[历史地理—考古学及博物馆学]