一缘 起 神禾原战国秦陵园位于陕西西安长安区韦曲南郊的神禾原西北部贾里村东,现为西安财经大学长安校区.陵园平面呈长方形,南北长548、东西宽312米,外环兆沟,内筑陵垣,近南部以东西向夯土隔墙分为南、北二区,设有内外五门;带有四墓道的"亞"字形大墓(M1)及所附十三座从葬坑位于北区,大型建筑基址位于南区东北靠隔墙处(图一).陵园布局完整、规格颇高[1],一般认为神禾原陵园及其内唯一大墓的主人应是秦始皇祖母夏太后[2].
枣树林墓地隶属于义地岗墓群，是墓群南部诸多小墓地之一，位于湖北随州曾都区东城办事处文峰社区一组、二组、十组，中心区域地理坐标为北纬31°42′27″、东经113°23′7″，海拔83米。墓地坐落在一条东北-西南走向的长条形岗地上，岗地高于四周约3-5米，东西宽约200米，南北长约300米，南起汉东东路，北至文峰社区一组，水及其支流水交汇于墓地西南部，面积约6万平方米（图一）。
Changzhi Fenshuiling cemetery can be divided into four zones,i.e.,west,south,middle,and east,according to the special form of the unearthed pottery grave goods.The periods of the tombs in each zone were different but partially overlap,and their owners were not all related by blood and lineage,but were from the Jin,Wei,and Zhao populations in different periods.The tomb owners of the Fenshuiling cemetery is neither a family of several generations without interruption as some researchers have suggested,nor primarily from the Jin.Since different populations entered this place at different times,our speculation differs from the understanding presented in the excavation report,which considers the middle Spring and Autumn period as Jin burials,the early to middle Warring States period as Zhao burials,and the middle and earlier-late Warring States period as Han burials.Due to the contending between Wei and Zhao for the Changzhi area during the Warring States period,the attribution of this area kept changing.People of different origins entered the area,then lived together,and be buried in the same cemetery after death.It testifies to the transformation of the basic organization of society from blood relations to geopolitical relations during the Warring States period.
Ding kiln site in Yanchuan area,about 47 ha,is located in the East and West Yanchuan Villages and the southern part of both villages in Lingshan Town,Quyang County,Hebei Province.From 2009 to 2010,the Hebei Institute of Cultural Relics and other organizations excavated this kiln complex.The archaeologists revealed an area of 80 sq m,and unearthed a large number of porcelains and kiln furniture.A bowl-shaped setter inscribed“the fifth year of the Taihe period”provides new information for studying the periodization of the Ding kilns.The kiln production in the Yanchuan area can be divided into three phases and four stages.The first phase,from the first year of the Yuanyou period（1086）to the second year of the Jingkang period（1127）of the Northern Song dynasty,was the initial stage in the Yanchuan area;the number of unearthed porcelains during this phase is small,mainly creamy-white-glazed porcelains with plain surfaces or incised decorations.The first part of the second phase,from the end of the Northern Song dynasty（1127）to the fifth year of the Zhenglong period of the Jin dynasty（1160）,was the development stage in the Yanchuan area,with cultural layers found only within 09YCT1;the number of unearthed porcelains are relatively small,basically the same as in the first phase;greenish-gray-glazed wares and products with full molded designs appeared.The latter part of the second phase,from the first year of the Dading period（1161）to the third year of the Xingding period（1219）of the Jin dynasty,was the heyday in the Yanchuan area;the number of unearthed porcelain is huge,and most of them are greenish-gray-glazed porcelains with plain surfaces;a large number of porcelains with molded and incised decorations are also found,of which the molded bowls with brown or black glazes are unique to the stage.The third phase,from the fourth year of the Xingding period of the Jin dynasty（1220）to the fourth year of the Zhizhi period of the Yuan dynasty（1323）,was the decline stage in the Yanchuan area;the number of unearthed porcelain is huge,and most of them are greenish-gray-glazed porcelains with plain surfaces;there are a very small number of products with incised and molded decorations,and the creamy-white-glazed porcelain disappeared in this phase;the two-color-glazed wares with black flowers appeared.
双元村墓地位于成都市青白江区大弯镇双元村七组，距成都市中心直线距离约27公里（图一）。中心点地理坐标为东经104°14'16″、北纬30°51'35″，海拔433米。2016年3月至2018年7月，成都文物考古研究院对该墓地进行了科学发掘。共清理东周墓葬二百七十四座，唐宋时期砖室墓二十二座[1]。墓葬统一编号2016CQSM1[2]-M300，其中M192、M205-M214、M217、M219、M220、M239、M259、M260、M262、M283、M285-M287为唐宋墓。该墓地发现的东周船棺墓数量较多，出土随葬品丰富，时代特征明显。
丝栗包遗址在三峡库区建设前属重庆云阳双江镇群益村十四组和八组，现位于搬迁后的云阳新县城城区西南侧，地处长江北岸边。地理坐标为北纬30°55'16″、东经108°42'15″，海拔145-150米（图一）。遗址位于丝栗包南侧崖壁下、上岩寺东侧一处小台地上，当地居民称为余家河坝。遗址南面长江，北靠陡峭山崖。由于库区二期长江水位的上涨（最高水位约为143米），在发掘前台地仅残存一小块缓坡地带，东西宽约100、南北深约40米，呈近南宽北窄的半圆形。台地北面是数十米高的山崖，几近垂直，东、西两面也都是较陡的斜坡和小岗。台地为北高南低的缓斜坡，一条小沟将台地分为东、西两部分，西区面积较小，东区面积较大，并由于近代民居的建造而形成北高南低的两级阶梯状平地，高度差约2米，原有两个民居宅院（余家院子）。夏商遗址即位于东区（图二；图版壹，1）。
目 次 一 东亚地区佛教寺院的考古发现 二 东亚地区佛教寺院的主要类型及其阶段划分 三 相关问题探讨 五世纪之后,东亚各国的文化交流日渐频繁,在中国内地敷扬甚广的佛教通过多途径传播至朝鲜半岛,并经由百济影响到日本列岛.寺院作为佛教僧侣从事法事活动和日常修行的场所,伴随着佛教的流传,在各地先后建立起来.由于历史、环境及人文诸多原因,朝鲜半岛和日本现存许多五至八世纪的佛教寺院,有关佛寺的探讨不断推陈出新.而作为东亚佛教寺院源头的中国,唐代以前的地面寺院均湮没于地下,因此相关研究进展甚缓.近年随着田野考古工作的发展,中国发现和发掘了数座北朝至唐代的佛教寺院,一些早年的调查发掘资料也陆续发表出来,从而为我们进一步研究中国中古时期的佛教寺院建筑结构与布局、建筑工艺与技术以及建设理念与功能提供了重要依据,同时也为探讨东亚地区中古时期佛教文化交流与建筑艺术的传布开拓出新的研究领域.
目 次 一 发现与研究 二 墓葬类别与形制 三 随葬陶器类型与组合 四 墓葬分期与年代 五 红河与马江流域汉墓的比较 六 越南汉墓与岭南汉文化的关系 西汉元鼎六年(公元前111年),汉武帝在今越南境内设置交趾、九真和日南郡,皆由交趾刺史部管辖,东汉建安八年(公元203年)归属交州.十九世纪末以来,越南境内已发现很多汉墓,对探讨该地的汉文化具有重要意义.本文拟在全面搜集资料的基础上,剖析墓葬形制及随葬器物演变规律,进一步完善越南汉墓的考古学编年序列,同时分析越南汉墓的区域差异及其成因,最后探讨越南与岭南地区汉墓的关系问题.
目次 一 出土玉石器分析 二 墓地的考古学文化背景 三 墓葬的葬仪分析 四 结语 陶寺和清凉寺墓地是晋南地区新石器时代晚期的两个重要墓地,也是晋南地区新石器时代玉器的主要出土地,与河套及甘青地区的出土玉器一样,这两个墓地出土的玉器也都以钺、璧为主,被邓淑苹纳入"华西系统玉器"[1].近年来,学者对两墓地出土的玉器从器型、组合、功能和传播方向等方面进行了研究[2].栾丰实认为晋南地区的玉器和海岱地区大汶口—龙山文化有密切联系,可能是大汶口文化西传的结果[3].
The Erlitou culture settlement site has been discovered and studied for nearly 70 years.Despite the abundance of archaeological materials and research results,a systematic study of this culture from a macro-scale settlement pattern and an investigation of the social conditions and related issues have yet to be carried out.Therefore,on the basis of defining the connotation and spatial and temporal scope of the Erlitou culture,this paper combs the published data of the Erlitou culture settlements and establishes a realistic settlement stratification standard.This paper analyzes the number,stratification,function,spatial distribution,and dynamic evolution of the Erlitou culture settlement sites,including the Songshan area,the Yuncheng-Linfen basin,the Yuanqu basin,and the eastern Henan plain.In addition,the issues of settlement hierarchy,settlement function,settlement site selection,social structure,relationship between center and periphery,as well as the time,direction,and strength of the external spread of Erlitou culture,and the control of valuable resources of the Erlitou people are also discussed.It is learned that the Erlitou capital city was likely to obtain valuable resources and exercise effective control and security over a large area through direct control of secondary and general settlement centers.Using welldeveloped water and land transportation network,Erlitou built up a highly developed and rather complex political,economic,military,and information network.This made it the core and leader in the process of Chinese civilization and laid a solid foundation for the subsequent Shang and Zhou civilizations.
三官庙汉画像石墓位于山东济南济阳区济阳街道办事处三官庙村西约130米处，南邻纪碱路、西距东吕高速约950米，地理坐标北纬37°3′57″、东经117°12′36″（图一）。该地地处黄河下游冲积平原区域，东南距黄河约3.5公里，地势平坦开阔。
The cemetery is located in the north of Hengbei Village,Hengshui Town,Jiangxian County,Yuncheng City,Shanxi Province.The terrain is a gentle slope high in the north and low in the south.From 2004 to 2007,the Shanxi Provincial Institute of Archaeology,Yuncheng Cultural Heritage Workstation,and Jiangxian Cultural Relics Bureau jointly excavated the Hengshui cemetery.A total of 1299 tombs from the Western Zhou dynasty were excavated,and 33 chariot-and-horse pits were found.The cemetery as a whole is in a northwest-southeast direction.The vast majority of Western Zhou tombs are in the direction of east-west,and most of the tomb occupants’ heads are mainly oriented to the west.Tomb M2022 is located in the north-central part of the cemetery,and to the east is the corresponding rectangular chariot-and-horse pit CH206 in the north-south direction.Based on the orientation of the tomb occupant’s head,the direction of the tomb is 275 degrees.The tomb is a rectangular vertical earthen pit,with a length of 3.9 m,a width of 2.4 m,and a depth of 6.6 m.The burial containers are one outer coffin and two inner coffins.There are three human sacrifics on the second-tier tomb ledge.In the middle of the tomb bottom,there is a waist pit with a dog inside.A total of 2552 pieces（sets） of grave goods fall into eight categories,including bronze,tinware,pottery,jade,stone tool,bone（horn） tool,mussel（shellfish） tool,and lacquered wood tool.The grave goods are placed on the second-tier ledge,on the outer coffin lid,between the inner and outer coffins,and inside the inner coffin,most of which are located between the inner and outer coffins.According to the comprehensive analysis and research of unearthed artifacts as well as the scale and location of the burial,M2022 dates back to the early stage of the mid-Western Zhou dynasty,which is similar to the age of M2158 and M2531 in the cemetery,and earlier than M1,M2,and M1011 in the northern part of the same cemetery.The owner of the tomb is a male with high social status,and it is inferred that M2022 is a monarch-level tomb.
From September to December 2019,in order to further improve the cultural heritage preservation of the South-to-North Water Diversion Project’s central route,the School of History of Zhengzhou University and the Henan Provincial Institute of Cultural Relics and Archaeology jointly excavated at the Lutai site in Xunxian,with an excavation area of1700 sq m in the eastern part.Remains from four periods,Yangshao,Longshan,Western Zhou,and Han dynasty,are found,with Neolithic remains being the main ones.The Yangshao remains are mainly distributed in the south-central part of the excavation area,with 32 ash pits,four ash ditches,and three burial sites;most of the unearthed vessels are fine-paste pottery,followed by clam-tempered pottery and some sand-tempered pottery;the pottery color is mostly red or brown;the surfaces of the vessels are mostly plain,and common decorations are incised,fingernail or finger-pressed patterns;painted pottery accounts for a certain proportion,mostly red or brown,and also a small amount of black pottery;the common patterns of painted pottery are triangular patterns composed of parallel diagonal lines,groups of vertical or diagonal narrow band patterns,horizontal broad band patterns,net patterns,etc.;the typical vessel assemblage is ding-cauldrons,guan-jars,weng-urns,pen-basins,hu-jars,and bo-bowls.On the whole,it is supposed to be the early Hougang type of Yangshao culture.The remains of Longshan are concentrated in the southern part of the excavation area,with 29 ash pits and one ash ditch;most of the pottery is fine-paste pottery,followed by coarse-paste pottery;the color of the pottery is mostly gray;the surfaces of the vessels are mostly plain,with common decorations such as cord,basket,grid,and string patterns;the most popular vessel assemblage is guan-jars,wengurns,pen-basins,and lids,followed by yan-steamers,li-tripods,jia-tripods,and panplates with ring feet,with fewer wan-bowls,boxes,and yu-basin-shaped vessels.According to the unearthed pottery form and assemblage characteristics,H11 and H98 were contemporaneous with the early Longshan culture of Mengzhuang,and the rest is supposed to belong to Hougang Ⅱ variant.The excavation of the Lutai site has provided important new materials for the study of the Yangshao culture Hougang type and Hougang Ⅱ variant in northern Henan.
Since the late Warring States period,the Qin tombs in the native area of the Chu state in the Jianghan area（northwest bank of the Yangtze River）have shown a clear Chu style.The cultural attributes of the Chu tombs of the late Warring States period in the Jiangdong area（south of the lower reaches of the Yangtze River）are clearly distinguishable from the local Yue tombs.In the middle of the Warring States period,the Yue tombs,which had already carried the Chu characteristics,retreated to the south of Qiantang River and dispelled the Chu features.After the establishment of the unified Qin and Han empires,the Jiangdong region quickly“shifted”and the two originally distinct material and cultural traditions of Chu and Yue embarked on a path of integration.This study argues that“identity”expressed in a material way is a tool used by different groups to maintain resources for survival and needs.As a ritual attended by large groups of people,funeral rites are one of the best occasions to express and reinforce a specific identity,and the evidence can be well preserved through the material form—burials.In order to integrate the“new land”as soon as possible to establish effective governance,the Qin people in the late Warring States period chose an inclusive strategy,and the integration of the“old Qin”and the“new Qin”eliminated the pre-existing boundaries and continuously changed the material culture and conceptual attributes of the“Qin”group.In order to unite the people to resist pressure and conflict,the Chu people of Jiangdong strengthened their identity as“Chu people”and thus reinforced the group boundaries of Chu people.The establishment of a unified empire dissolved the external pressure and group competition faced by the Chu people of Jiangdong,and the gradual formation of the concept of“Han Chinese”led to the further integration of the previously heterogeneous groups within the empire,which can also explain the above mentioned“shift”in Jiangdong after the establishment of the Qin.
晋阳古城遗址位于山西太原西南的晋源区晋源镇附近,面积约20平方公里.遗址西靠太原西山,东邻汾河,地势西高东低.据文献记载,"晋阳"最早出现在历史文献中是在春秋时期.公元六世纪,晋阳先后成为尔朱氏、高氏重要的政治中心,并成为与邺城并重的"霸府"、"别都".唐至五代,备受统治者重视,称为"北都"、"北京".五代十国时期,战乱频仍.在宋灭北汉的战争中,晋阳城损毁尤为严重,至太平兴国四年(979年)完全被毁弃.
The term “guchui”[lit．“drumming and blowing”]is frequently found in historical documents with different connotations and extensions in different times and occasions.This traditional Chinese music for percussion and wind instruments specifically referred to the music for imperial banquets in the Eastern Han dynasty,and then it started to be integrated into military music.From the Northern and Southern Dynasties to the Sui and Tang dynasties,it was used both in imperial processions and military ceremonies.In the Han and Tang tombs,guchui musical ensembles were frequently seen on murals or played by groups of figurines.Such musical ensembles were first seen in the Eastern Han dynasty,formed in the Wei-Jin to Sixteen Kingdoms period,and were stereotyped in the Northern and Southern Dynasties during the cultural integration.They formed as a system in the Sui and Tang dynasties and died out after the An-Shi Rebellion.Its development and change were not only related to the reconstruction of ritual music but also relevant to the ethnic integration in the Han and Tang dynasties,reflecting the development of ritual music during that period.Based on textual records,this paper first clarifies the concept of“guchui music”in the Han and Tang dynasties,and then comprehensively combs the guchui music ensembles unearthed in Han and Tang tombs,and points out that the combination of“military ceremony guchui”and “imperial procession guchui”is the main development form,reflecting its symbolic connotation of“military expedition”and“success celebration．”In addition,there are differences in the guchui musical forms and ensembles in different periods and regimes.Finally,by comparing archaeological materials with historical documents,this paper points out that the guchui music ensembles in burials were shaped through two stages:the “spontaneous period”and the“self-conscious period,”which were synchronized with the reconstruction of the ritual system in the Han and Tang dynasties,testifying to the development of ritual music system and culture in the period.
2015年6月至2020年7月,中国社会科学院考古研究所安阳工作队对位于河南安阳殷都区韩王度村东的洹北商城手工业作坊遗址进行了发掘,发掘面积近4800平方米,发现了大量与铸铜和制骨手工业生产相关的遗迹、遗物.铸铜作坊相关情况曾进行过报道[1].此次发掘除了发现大量手工业遗存外,还发掘了一百余座墓葬,其中洹北商城时期的墓葬有一百零三座(图一).这些墓葬是手工业作坊遗址的重要组成部分.现将这批墓葬情况报道如下.
Based on typical materials,this paper classifies the Western Zhou shank bells into five types according to the boundaries between the zhuan-decorated bands,mei-studs,and zheng-decorative cylindrical walls.Based on archaeological typology,combined with history and paleography,the periods of each type of shank bell in Western Zhou were investigated.Types A and B were popular in the early Western Zhou,while Type C existed at the same time,three or four pieces in a row as a set,and the second fundamental tone mark appeared in the late period of early Western Zhou.Types A,B,and C shank bells continued to exist in the middle of the Western Zhou dynasty,and Type D emerged during this time.Meanwhile,the tuning grooves appeared on the inner wall of the shank bell,and the wall of the bell became thicker.Three or five shank bells in a row form a set.In the late Western Zhou period,Type E shank bells were popular while Types A,B,and D still existed.Type E features a thick and heavy body,and eight pieces form a set.In the early-and mid-Western Zhou period,there was no fixed number of shank bells,and the shape and ornamentation of the bells were not consistent,indicating that the Zhou people had not yet fully incorporated the bells into their music system.However,in the late Western Zhou period,the number of bells was fixed at eight pieces,and the shape and ornamentation of each set were similar,with diminishing sizes.Just like the ding-cauldron sets in the middle and late Western Zhou,the bell sets were also officially incorporated into the ritual music system of this period and became a symbol of identity and status.
三官庙汉画像石墓位于山东济南济阳区济阳街道办事处三官庙村西约130米处,南邻纪碱路、西距东吕高速约950米,地理坐标北纬37°3′57″、东经117°12′ 36″(图一).该地地处黄河下游冲积平原区域,东南距黄河约3.5公里,地势平坦开阔.
目 次 一 墓葬类型 二 器物类型 三 分期与断代 四 分区 五 四川汉墓文化演变 四川地区已公开发表的西汉至蜀汉时期墓葬约二千座[1].目前多是以某一类或某一地的汉墓为研究对象,未见针对整个四川汉墓的综合研究.本文利用考古类型学全面梳理四川汉墓资料,试图建立完善的时空序列.
