柞伯鼎铭文中的"共"当读为"供",意为以下奉上、供其职事,引申为辅佐、有所奉献."用昏无殳"的"殳"当为动词,即"以杸殊人",是说昏国在南方以殳这种兵器为害一方,即蛮横用兵、侵扰边境,"无殳"一词和多友鼎中的"放(方)兴"、应侯视工鼎中的"非良"意思近同,近出铜器兒方彝铭文也证明了这一点,而"广伐南国"的主语是"昏",并不指周公南征.铭文中的"蔡侯"当为传世文献中的"蔡武侯",这为确定器物年代提供了重要线索.综合分析柞伯鼎的器型纹饰、字体、人物关系以及相关历史背景,将其年代定在西周晚期的厉王时期较为合适.通过对相关铭文体例和文献的分析,并不能排除周公南征的可能,铭文内容仍隐约透露周公曾南征的事迹.
The environmental adaptability of dwellings not only shows up in the adaptation to geology, topography, climate and other natural environments, but also in the adaptation to the ethnic, historical and social environments. The Northwestern Sichuan Plateau is located in the northwestern part of Sichuan province, where the land is sparsely populated, with high mountains and deep valleys. It has long winter and no summer throughout the year, with spring and autumn coming in succession. Frequent seismic activity often causes geological hazard such as landslide.It’s home to twenty-five ethnic groups, mainly Tibetans, therefore has a integrated and diversified culture. The livelihood of Tibetan people is agriculture-based, with animal husbandry as a secondary industry. Their common religious belief is Buddhism. The environmental adaptation of traditional Tibetan stone masonry dwellings in Northwestern Sichuan Plateau is mainly manifested in the following aspects: firstly, they are usually located in flat and sunny terrain with shelter from the wind and a small cultivating radius, and are often close to water supplies; secondly, the stone masonry dwellings are often three-storey or four-storey, with each floor serving different functions;thirdly, they are made with local materials, including local stone with good load-bearing capability,insulation and durability, and loess with strong viscosity as adhesive; fourthly, the remarkable integrity and stability manifested in their structure and form of wall reflect the need for earthquake resistance and safety; fifthly, the stone walls and setting of doors and windows serve defensive function besides cold-resistance; lastly, their function division, form and decoration highlight the distinctive characteristics of the Tibetan culture.
In July 2018, a blue-and-white pear-shaped vase with flaring lip decorated with dragon and pearl patterns was unearthed at the archaeological site on Zhengfu Street in Qingyang District, Chengdu. Through comparison with domestic and foreign materials, it can be determined that it was fired in Jingdezhen in the Yuan Dynasty. Over the years, a small amount of Yuan Dynasty blue-and-white porcelains have been found in Chengdu, Ya’an, Santai and other places,indicating that Sichuan is also one of the important distribution areas of Yuan Dynasty blue-andwhite porcelains in China. Although the war between Song and Yuan which broke out in the late Southern Song Dynasty caused great damage to the social economy of Sichuan, the political stability and economic recovery since the early Yuan Dynasty provided the prerequisite for the circulation of non-local porcelain and other commodities into Sichuan. Chengdu has been the political, economic and cultural center of Sichuan since ancient times. In the Yuan Dynasty, crucial military and political government agencies were set in the city. The possibility that this vase was owned by a high-level agency or a special group of people cannot be ruled out.
The epitaph of Xu Meiren discovered in the last century is an important document reflecting the social conditions in early Western Jin Dynasty, containing wealth of political information. The epitaph is more informative than records in historical documents. Take Jia Nanfeng for example, according to Jin Shu（ "The Book of Jin"）, she became the crown princess in the eighth year of Taishi period, while in the epitaph it’s recorded as the sixth year of Taishi period.This event is closely related to the political situation of the Western Jin Dynasty, so it’s necessary to clarify the actual year. Starting with the etiquette system of the Western Jin Dynasty, the article points out that "betrothal" and "conferment" are different ceremonies in the Western Jin Dynasty,therefore Jia Nanfeng was officially conferred crown princess in the eighth year of Taishi period.The inconformity between the epitaph and historical documents is because they recorded different timelines: Jin Shu recorded the time when she was conferred the crown princess, while the vague information in the epitaph of Xu Meiren was to flatter Jia Nanfeng. As for the specific date when Jia Nanfeng became the crown princess, both the historical records and the epitaph retain true information of her marriage despite their difference, which in fact reflects different perspectives of history. Previous historical studies confused the concepts of "betrothal" and "conferment",and arbitrarily claimed that the epitaph was falsely written, which led to the failure to clarify the complexity of this political event. It is a reminder to the researchers that only by combining epitaphs with handed-down documents and taking full account of the background of writing can we restore the historical facts through all the twists and turns.
The White Pagoda in Guang’an was built by An Bing, a famous general of the Southern Song Dynasty. It is a pavilion-style pagoda with nine floors and a quadrangular plan.Located on the shoal by the Qujiang River, the lower five floors are stone structure while the upper four floors are built with bricks. On the basis of detailed survey, mapping and three-dimensional scanning, this paper re-examines its year of construction, and systematically studies and analyzes the following aspects: its plane and facade structures, the form and material of its imitations of wooden Dougong, the imitations of wooden beams, columns and waist eaves, the style of Sumeru terrace, as well as the Buddhist statues and carving decorations. Using the typological method of architectural archaeology, we’ve classified the Tang-Song period brick or stone pagodas in Sichuan and Chongqing into 3 types: dense-eave towers, pavilion-style pagodas and dense-eave pagodas with pavilion features. By comparing the White Pagoda with the Tang-Song period brick or stone pagodas, ancient buildings of the Song and Yuan Dynasties, and the stone carvings in Song tombs of Sichuan and Chongqing, this article analyzes the evolution of stylistic characteristics,and confirms that the Guang’an White Pagoda is an important physical evidence for the evolution of architectural styles during the Song Dynasty in the Sichuan-Chongqing area. Based on the comprehensive and scientific evaluations of the White Pagoda, especially its values in the study of architectural history and Buddhist arts, this paper provides suggestions on future maintenance of the pagoda, and put forth the proposal of systematic collation of historical and cultural heritages concerning An Bing.
This paper studies the process technology of a series of flat spherical tripods with side ears in the collection of Li County Museum, Gansu Province, as the discussion of relevant issues in previous studies is insufficient. CT detection is used to observe the interior structure of the samples, and trace analysis methods are adopted in the observation of the phenomena on the surface. Based on the observation, the author believes that modular production technology was adopted in the making of the objects, such as the use of split molds for mass production of accessory models before final assembly, as well as rearrange and reassembly of the split molds for multiple matching, which improves the production efficiency and reduces the error. In addition to the theoretical research, the conclusions were simulated and verified by the auxiliary methods of experimental archaeology. The author believes that the ancient foundry workers used the monoblock casting technology and horizontal parting mold structure design in the manufacture of artifacts,and the mold production and casting might not be completed in the same place. Lastly, causes of the technology and its influence on the modeling design of artifacts are discussed, for example,whether the folded rim of top cover is affected by the post-casting technology, the wide and flat shape of the foot and even the relative position of belly and foot are more affected by technical constraints rather than the subjective design of the shape. To a certain extent, this provides another explanation of the internal driving force of the evolution of shape design. In addition to the influence of subjective will such as aesthetic taste and shape design, the constraints of production tools and technology also play an important role.
Changtian site is located in the southwest of Changtian Village in Jiyi Town of Wuding County, Chuxiong Yi Autonomous Prefecture, Yunnan Province. From January to July 2018, to cooperate with the construction of Wudongde Hydropower Station, a joint archaeological excavation of the site was conducted by Yunnan Provincial Institute of Cultural Relics and Archaeology, Museum of Chuxiong Yi Autonomous Prefecture and Wuding County Administration of Cultural Relics, covering an area of 10000 square meters. A total of 34 burials,9 ash pits, 5 house foundations, 2 ditches, and a cooking stove were discovered, as well as multiple outdoors fire traces and garbage dumping accumulations. A large number of pottery sherds, stone artifacts, and animal bones were unearthed. The various types of stone artifacts form a complete processing chain, including the selection of raw materials, rough processing and shaping, tool processing, reprocessing, reuse and disposal. Pottery mainly consists of pots, bowls, and cauldrons,among which pots have a rich variety of shapes. The surface of most pots and bowls is polished and decorated with impressed or incised patterns, which are highly characteristic. The Changtian site is an important one from the transitional period between the late Neolithic and Bronze Age in the middle reaches of the Jinsha River, providing important evidence for studying the regional patterns of early handicraft production, population migration, and technical exchange in the Yangtze River basin.
In 2009, the National Cultural Heritage Administration issued the Principles for Nominating National Archaeological Site Parks（tentative）. It has been widely known as one of the most important attempts for heritage standardization since the early 21st century. However,numerous questions remain unanswered such as how to determine whether（or to what extent） it is a right choice to transform an archaeological site into a park, and if not, how its archaeological resource can be appropriately represented, displayed, or, more generally speaking, used? Since 2009, some of the Chinese top-ranking archaeological sites have been continuously inscribed on the list of National Archaeological Site Parks. That said, it is commonly agreed that the sites in China’s urban areas are more readily to be transformed into parks and thereafter incorporated into the existing urban planning and designs. In other words, they are born to serve the urban needs. By contrast, sites in rural areas are quite difficult to be used as parks by rural community as museums and in-situ display tend to be inappropriate for existing rural environment and cultural landscapes.The planning of Majiayao site, which is located in the rural area of Lintao County, provides some inspiration to reconcile the use of archaeological heritage by the state as well as by the rural community. The article points out that the term ’Majiayao’ has three connotations, firstly it refers to the Majiayao culture in northwestern China; secondly, the miscellaneous types of painted pottery discovered in northwestern China are collectively known as Majiayao pottery; thirdly, the Majiayao culture is named after the Majiayao site. Based on archaeological findings, the author believes that the real archaeological value of the site might have been overestimated, and points out that people may take for granted that a valuable site as a ’cultural capital’ is naturally valuable in terms of archaeology, which is a kind of misunderstanding indeed.
To cooperate with the construction of the Baihetan Hydropower Station on the Jinsha River, Sichuan Province Institute of Cultural Relics and Archaeology conducted joint archaeological excavations with the Liangshan Yi Autonomous Prefecture Museum and other units at the Zhongjialiangzi site from December 2019 to March 2021, during which a total of 287stone coffin burials, earth pit burials, and urn burials from the late Neolithic to the Xia-Shang period were discovered. They can be roughly divided into two stages, the absolute age of the early stage burials is from 4200 to 3600 years ago, with the prevalence of spreading-mouth jars with stamped or incised decorations and wave patterns widely distributed on both sides of the main stream of Jinsha River in the Ningqiao region, which is closely related to the late Neolithic remains in northern Yunnan. The absolute age of the late stage burials is 3600-3300 years ago, with the prevalence of polished plain black pottery jars with small flat-bottom and dish-shaped mouth,which is the first discovery in this area, and is probably related to contemporaneous or later remains in the Anning River Basin, Zhaolu Basin, and other places. The age of Zhongjialiangzi burials is a critical juncture between the Stone Age and the Bronze Age in the middle reaches of the Jinsha River. This excavation comprehensively revealed the overall picture of the cemetery, and the newly discovered combination of artifacts filled the blank in the archaeological and cultural landscape in the middle reaches of the Jinsha River. A clear evolution rule of the burials helps to establish the archaeological and cultural framework of the Ningqiao region from the late Neolithic Age to the Xia-Shang period, and provides important materials for the exploration of the historical and cultural features of this region during the prehistoric times.
在2021年开展的全国石窟寺(石刻)专项调查工作中,西藏自治区文物保护研究所、芒康县文化局以及昌都市文物保护研究所组成的调查小组对地处西藏东部的芒康县境内的3处摩崖造像进行了调查与记录.3处摩崖造像分别位于芒康县纳西乡觉龙村、帮达乡然堆村境内,共发现11尊造像,通过比较造像特征,确认其中10尊佛教造像具有显著的吐蕃佛教造像风格.这些造像既有新的艺术表现形式,也有罕见的内容题材,它们的发现为进一步研究吐蕃佛教造像的空间分布、艺术传承及思想传播等提供了重要资料,又推动了唐代汉藏文化交流和唐蕃古道的研究,具有重要的学术价值.
权杖是世界古代文明中权力的表达和象征物,在考古发现中多以各种质地的杖头呈现.通过对李水城教授所著《耀武扬威:权杖源流考》一书的介绍,对中国各地出土的杖头及其相关问题进行评述,探讨哪些属于代表权力、等级、威仪等含义的"权杖",而哪些可能与之无关.其中,较确凿与神权、王权有关的"权杖"应属三星堆一号祭祀坑出土的黄金杖体,此外羊甫头墓地M113随葬的人形铜首木杖也可能与"权杖"相关.考虑到三星堆和羊甫头都处在青铜时代"边地半月形文化传播带"上的地理区位,中国西南地区出现的"权杖"这一文化现象或与中外文化交流有关.而云南青铜时代滇文化墓葬中出土的"杖头铜饰"与斯基泰文化中的杖头铜饰"器形相近、用途相同",为理解外来文化中的"权杖"可能流传进入中国的途径提供了线索,或可由此追溯到更为久远的时代和更为广阔的地域,来进一步考察由权杖所带来的东西方文化交流的若干片断.
相较唐代高等级官员集中葬于两京地区,其他地区发现的官员墓葬基本以县官一级为主,两宋时期官员无论官品高低,均未集中埋葬于某地,墓葬面貌也表现出较为明显的地域特色.官员墓葬分布看似杂乱无章,但通过对墓主人籍贯、出仕经历、埋葬区域等信息的梳理,仍可看出其墓葬选址存在一定规律,基本以归葬原籍祖茔为主,部分或葬于游宦之地,或葬于寓居之所,墓葬分布总体来看并不集中.结合考古材料与文献资料,推测宋代帝陵陪葬制度的变化、族葬习俗的兴盛,以及政治、地理、风水、战乱等因素,均对唐宋官员墓葬选址变化产生了重要影响.
2020年,四川省文物考古研究院等单位对四川阆中市邵家湾清代邵万全夫妇墓坊开展调查,对其进行测绘和拓片.墓坊为仿木结构,八字形,整体面阔五开间,七楼,庑殿顶,筒瓦屋面,上有宝顶,下有须弥座.正面刻满雕刻,有墓主夫妇坐像,八仙,福禄寿、花卉等吉祥图案以及戏曲雕刻等.一层各间都刻有文字,内容包括墓志、世系、诗词、对联等,由墓志可知,墓葬修建时间为咸丰九年(1859年),该墓为邵万全夫妇生前所建,为二位之"寿藏".邵万全夫妇墓坊的调查为研究清代川东北地区墓坊结构、雕刻以及葬俗、文学、书法等提供了重要实物资料.
甘青地区史前墓葬的地表通常会发现一些人为摆放或竖立的石块、放置的陶器、垒筑的土丘以及营建的围墓沟等遗物或遗迹,用以标志墓葬位置或表达祭祀礼仪等信息,可称其为墓葬的地上标志.甘青地区的墓上标志主要表现为两类:第一类是在完成埋葬后设立的地表标志,包括墓口竖立的石块、木桩和垒筑的坟丘;第二类是后续在墓葬地表进行祭祀活动的遗留物,这些遗留物在客观上也起到了标志的作用,这类标志主要是墓口放置的陶器.随着时间的推移,甘青地区的墓上标志呈现出由单一立石标志向多种标志并存发展的趋势,个别标志还形成了特定的分布区域.甘青地区史前墓葬流行设置墓上标志,除为了识别墓葬位置便于完成墓地规划外,应与该区域盛行二次扰乱葬有着密切关系.
2013年12月至2014年1月,四川省文物考古研究院、广元市博物馆对广元水柜村宋墓进行了发掘,墓葬为双室石室墓.墓碑文字显示左墓室墓主为南宋武将王光祖,推测右墓室墓主可能为其妻刘氏.碑文详细记载了王光祖生平信息,王光祖为南宋中期抗金武将,从普通士兵通过战功逐渐晋升至将军,碑文对其升迁过程记载较为详细,其升迁过程与南宋军制也较为契合,是南宋中级武将成长发迹史的具体个案.同时碑文详细记录了墓主多代人的姓名、官阶、职掌以及婚姻情况,可补传世文献之不足.该墓碑记载为研究南宋川陕抗金历史提供了材料,同时对南宋武将家族研究有重要意义.
漆木虎座鸟架鼓有虎腹贴地和虎腹离地两种形制,其演变趋势均为鸟翅渐肥硕而上扬,鸟尾渐粗长而上扬.其分布范围主要为江陵地区,发展过程涵盖三个时期,即兴起于战国早期,盛行于战国中期早段至战国晚期早段,衰落于战国晚期中段至秦.其性质是普通乐器中的悬鼓,且在尺寸与组合上都具有一定的等级意义.其象征意义包括基本意义和衍生意义两个方面,前者为虎啸凤鸣的乐理知识和贬虎尊凤的好恶心理,后者可能就是象征楚人战胜巴人,并且其衍生意义的具体内涵很可能随着巴楚关系的变化而变化.
红铜铸镶是东周时期一种高超的青铜器表面装饰工艺,此工艺基于范铸法,其技术源于垫片工艺.目前已知的红铜铸镶青铜器相对多见于鲁南地区、中原地区及楚文化区域.基于纹饰的形式设计、工艺特征以及纹饰的铸造缺陷等,对绵竹清道出土铜豆、铜钫进行考察,证明二者均采用了红铜铸镶工艺.绵竹清道所出此两件铜器是迄今已知的、距红铜铸镶青铜器发祥地最远的案例.通过将两器的纹饰设计,尤其是铜豆上具有的高度特征性的勾连纹,以及铜钫整体装饰风格,与目前已知的红铜铸镶青铜器进行比较,可以认为,此两件铜器的年代应为战国初期,不晚于战国早期.考虑到此类青铜器的铸造难度和高度统一的纹饰风格,以及目前所见的分布区域,蜀地工匠应无自作该器的可能性,此两器应为舶来品,流转至蜀地.
三星堆祭祀坑出土铜器的产地问题迄今未有定论.本文对一、二号祭祀坑出土的15件铜器进行了成分分析,结合以往发表的数据开展微量元素和铅同位素研究.结果表明三星堆祭祀坑中本地式和外来式铜器使用了相同类型的原料,且其所用原料与成都平原本土原料类型完全不同,而与殷墟、汉中、新干等铜器群所用原料关联密切,由此可知,至少部分祭祀坑铜器的原料是外来的.此外,祭祀坑中还发现非三星堆特征的铜尊,其圈足上有疑似铸造的三星堆特色的圆孔,暗示有"定制产品"的可能性.三星堆祭祀坑铜器的来源应十分复杂,可能包括殷墟、长江中下游以及三星堆本土等地点.铜器的风格、技术、原料、器用制度在不同层面实现了极为复杂的流动,这同时映射出晚商时期黄河流域和长江流域形成的资源流通和文化互动网络.
三星堆遗址祭祀区三号坑遗物埋藏层出土 1件神树纹玉琮(K3qw:236),其平面位置靠近三号坑南壁,紧邻青铜顶尊跪坐人像.玉琮材质为透闪石—阳起石玉,整体呈较规整的方柱体,中有周正的圆孔,器表无节槽,有线刻纹饰,刻痕甚浅.玉琮四面均饰弦纹与窃曲纹条带,其中相对的两面各线刻一株神树,形象与三星堆出土青铜神树有颇多近似之处.其原先应为一件素面玉琮,在经历一段时间的流传、磨损后,才被刻上纹饰.器物形制与齐家文化玉琮高度相似,无疑是受甘青地区文化影响的产物,甚至不能排除这件器物原本为齐家文化产品的可能.神树纹饰具有鲜明的三星堆文化特征,雕刻线条却又略显潦草,或说明玉琮在三星堆文化中尚未被视作礼器.
As one of the most important archaeological discoveries for the exploration of Yelang civilization, the excavation and research of Zhongshui sites in Weining County, Guizhou province established the most complete cultural development sequence from the prehistoric period to the Han dynasty in eastern Yunnan and western Guizhou. To study the early population movements and dietary characteristics in the Zhongshui Basin, we conducted strontium, oxygen and carbon isotope analysis on the dental enamel of 51 human individuals unearthed from the sites of Jigongshan, Hongyingpan and Yinzitan. The result shows that the average value of 87 Sr/ 86 Sr is 0.710038±0.000577, and there are at least 9 non-locals among the 51 individuals. During the Shang-Zhou period, the majority of the population in Jigongshan site was indigenous, indicating that the Jigongshan Culture originated locally, whereas more immigrant individuals were discovered in the Yinzitan cemetery which lasted from the Warring States to the Han Dynasty, as all the individuals from secondary multi-people joint burials were natives, while 7 individuals from single burials were immigrants, showing that different burial patterns in Yinzitan cemetery probably represent different ethnic groups. The increase of immigrant population was related to the expansion of Qin and Han Dynasties in the southwestern region. There is no significant difference in carbon and oxygen isotopes between non-locals and local individuals, indicating that the non-locals came from areas with similar climate and diet to the Zhongshui basin. Carbon isotope analysis shows that from Shang-Zhou period to Han Dynasty people in the Zhongshui basin lived largely on C 3 food. These findings shed light on the origin and external connections of archaeological cultures in the Zhongshui basin.
