陶铜审美之变与中国早期国家的形成

The Changes of the Aethestic Pottery to Copper and the Formation of Chinese Early Countries

20世纪以来,中国新石器时代器物考古的进展,打破了传统国史"民族出于一元""地域向来一统"的观念,为认识中国早期文明提供了更趋多元的向度。但是,这种早期文明的多元性,并不能掩盖其文化、政治逐渐走向一体的事实。目前,学术界对中国史前文明多元性的判定,主要依据当时陶器器型所显现的地区差异。与此相较,青铜铸造技术的出现,一方面接续了陶器,另一方面则以其跨区域的生产模式,将广大的国家疆域连缀成了一个整体。这样,中国早期器具制造史上的陶铜之变,其实就成了中国文明从分离走向合流、从多元走向一体的最恰切象征。以此为背景,见于史传的夏铸九鼎传说、殷商青铜器组合式图案,则为中国早期的国家一统观念提供了审美、政治乃至神学的证明。据此也可以看出,目前国内美学界对史前陶器和青铜器的研究,往往停滞于工艺、艺术或美学的层面,而对由美开启的政治文化价值视而不见,现在是对这种自设樊篱的研究法做出改变的时候了。

From the beginning of the 20 th century,development in the archaeology of relics in the new stone age of China broke the traditional idea of " all nations have the same origin" and " regions are always united",and understood the early Chinese culture with a more diversed orientation. However,this diversity of early cultures cannot conceal the unification of cultures and politics. Currently,the determination on the diversity of pre-history Chinese culture mainly relys on the forms of pottery in different regions. Compared with apperance of copper,pottery not only gets continued but cross regions manufacturing mode. Thus,the change from pottery to copper formed the most suitable symbol for the Chinese culture. Therefore,the legend of Xia molded nine cauldrons and modular painting of Yin-Shang copper wares provided proof of aethestic,politics and even thelogy for early Chinese unification idea. The domestic aethestic circle's study on pre-history pottery and copper need to change this self-blocking studying method.