良渚文化的蜷体鸟纹

Curly-bodied Bird Pattern of the Liangzhu Culture

良渚文化晚期,盛行有精细刻画图像的高等级陶器,这些图像最重要的主题是千姿百态的鸟纹。其中有的鸟纹身如弯钩,甚至回环蜷曲并附着鸟首,可称"蜷体鸟纹"。本文在以前研究的基础上,对此类图像的类型、内涵和来源做了初步探讨,认为其主题表现的是鸟在水生蛇身动物体内繁育诞生。此类蜷体鸟纹的出现,是良渚文化继承本地传统,熔合庙底沟类型和红山文化相关因素,并加以创新的结果。这样的熔合是完成良渚早期国家意识形态构建的必由之路,由此可见良渚社会领导者们视野之广阔,胸怀之博大。

By the Late Liangzhu, there was a widespread use of finely carved patterns(mostly bird pattern) on high-status pottery. Among them, a curly-bodied bird pattern can be characterized, mimicking birds with a curly body or sometimes a bird with head closely attached to the curly body. The present paper based its arguments on previous studies and tentatively discussed the types, meaning, and origin of the curly-bodied bird pattern. This theme is believed to reflect that birds were given birth by aquatic animals with a snake body. The formation of curly-bodied bird pattern was resulted from the innovative integration of Miaodigou and Hongshan cultural elements into the Liangzhu culture. The unity of different cultural elements is a prerequisite for the ideological construction of early Liangzhu states and it indicates the broad views and minds of the Liangzhu ruling elites.