追三代於鼎彝之間―宋代の「考古」から「玩古」への展開について―

The great bronze casting tradition of the Shang to the Warring States faded into the shadows during the era of the Han empire and the succeeding centuries. During the Sung dynasty, ancient bronzes were not just inadvertently rediscovered, but also sought out, collected, studied, and recorded in books. They were used as models for bronze imitations of their shape, decor, and inscriptions; and also served as the basis for imitations in ceramic, gold, silver, jade, and other media. These projects provided a visual impression of the bronzes of the “Three Dynasties” (Hsia, Shang, and Chou), which had grown muddled and obscure over the passage of time. Sung men took bronzes that were used in ancestral rites held in the clan and state temples of the Three Dynasties\u27 nobility, and gave them a new life in the contexts of Confucian, Buddhist, Taoist, and popular religious practice. As the medium changed, the distance from the original vessels gradually increased. At the same time, as these vessels found their way into the daily life of common people, moving from temples into the decorative space of the home, they became an emblem of the possession of the past and a concrete embodiment of different social groups\u27 recognition of the new values of “investigating antiquity” and “appreciating antiquity.” The present essay uses recent archaeological discoveries– in particular discoveries or aspects of discoveries that have largely been neglected (such as the burial context and the inter-relationship of items within this context, inscriptions, and the status of the tomb occupant) – in conjunction with historical records to construct a tentative explanation of the relationships between these objects and the people who used them. Such links include the relationships between the functional contexts of the objects and the social and political status of the individual. The ultimate goal is to explore the rebirth of Three Dynasties bronze imagery as a cultural element and examine the forces that drove this revival. In particular, the essay explores the cognitive shift from thinking of ancient bronzes as emblems of loss to understanding them first as objects of inquiry and then as foci of aesthetic appreciation. The author also investigates the expansion and transformation of the social, economic, political, and religious foundations of the class of patrons from whom these cognitive changes emerged. These changes gradually pushed revivalist bronze imagery into the world of Confucian, Buddhist, Taoist, and even popular religious observances, as well as into the lives of the common people. It lay the foundation for key developments of the subsequent millennium, and thus represents a key influence in the history of the material arts

商代玉器

商代玉器研究與新石器時代玉器研究，最大的不同在於商代玉器已進入青銅時代。青銅挾其甫入青銅時代的新興材質對新石器時代以來，以玉與陶作為主要質材的隨葬禮制產生了衝擊，而形成玉、陶、銅為主要發展的質材。商代玉器藝術的形象與角色有別於新石器時代而產生了位移與調整，對商代藝術特質的形成，有舉足輕重的影響。 本計劃的從這個角度討論商代玉器。青銅兵器出現以後的商代，商代玉器對新石器時代已形成的「兵器的禮制化」功能及「人體裝飾」功能二方面作了調整。在安陽這種人體裝飾功能的強化，比其它區域都明顯，也發展出新的紋飾、形物技巧，對玉器在禮制系統中的角色有了新的詮釋，充實了商代玉器藝術發展的主要內容。而與三星堆祭祀坑以及金沙遺址保留了大量的玉兵不同;而江西新淦選擇「非玉」質材，如葉臘石、磷鋁石等充當複雜的玉造型及玉紋飾，似乎說明了玉礦源的不足，或其它硬度較軟的美麗質材價值的發現或取代。The role of Shang jade in the burial goods has been changed since the bronze age. During the Neolithic period, the jade antifacts were mainly for ritual weapon and ornamentations. However, when bronze was used during the Shang period, the jade antifacts changed their roles and probably influenced their artistic charachteristic in the Chinese jade art history. During the Shang Dynasty, the bronze weapons were manufactured, the An-yang jade artifacts were much manufactured for ornamentation than before. The new technique for design and forms evolved in the An-yang during the Late Shang period. It is different from the San-hsing-tui and Chin-sa where the jade weapons are mainly for the jade antifact. In contract, in Hsingan of Chingshi of the Late Shang period, some particular materials were used for the complicated design and form of jade-like artifacts. It seems to reflect that the lack of the jade sources or that the new value for the material evolved