从“神人兽面纹”看良渚文化玉琮形制

The for mat ion of Jade-cong of Liangz hu culture based on Beast-Face-Pattern

良渚文化玉器"琮王"上的神人兽面纹图像结构是由上为神人,下为神鸟所组成。由于该图像存在许多变异之形,且被用于相异器物之上,因而它是我们寻找器物关联性的重要线索。通过对良渚遗物相似形的分析,神人兽面纹不仅是上古人生命循环观和太阳神崇拜的象征体,也是解读玉琮形制起因的通道。具体而言,玉琮形制既蕴藏着神人兽面纹的简化图式,同时其形体又是上古人"方位观"和追求"升天长生"的产物。

Beast-Face-Pattern on Jade-cong of Liangzhu culture,is composed of a godman on the top and a god bird on the bottom. Having various of shapes and used in different objects,it is therefore an important clue for us to figure out the relevance between jades. Through the analysis of similar figures of Liangzhu relic, it shows that Beast-Face-Pattern is not only the symbol of the concept of life cycle of ancient people, manifesting their worship towards the Sun God, but also acts as a channel for us to study the origin of the formation of Jade-Cong. Specifically, the formation of Jade-cong embodies the simplified schematic of Beast-Face-Pattern, simultaneously it is the outcome of the philosophy of Azimuth as well as the pursuit of heaven and longevity in ancient time.