巫山李家滩出土大口折肩青铜尊探微——兼据同类尊的风格和关键工艺探讨其年代和扩散

Insights into the Large-mouthed Angular-shouldered Bronze Vessels of Wushan Lijiatan:Discussing their Date and Craftsmanship Based on their Style and Production Techniques

巫山李家滩出土的大口折肩尊应是迄今所知峡江地区发现的时代最早的青铜器,属于具有牺首和鸟饰的高浮雕纹类型,牺首以贴片铸铆式后铸而纹饰由模一芯合作而成,具有典型的商代南方型青铜器特点,与六安淠河、岳阳费家河、江陵八姑台、枣阳新店、广汉三星堆出土的,以及颐和园、东京国立博物馆、上海博物馆、赛克勒博物馆等收藏的造型、纹饰和工艺一致。本文即是通过对器物所蕴含的风格和技术要素进行提取和分析,揭示它们间的内在联系,展现它们在风格和技术上的同源性以及制作年代的同时性。本文尝试依据尊肩部装饰对大口折肩尊进行类型划分和分析,通过这些尊铸铆式后铸牺首和高浮雕纹饰在器内壁相应下凹两个代表性特征,爬梳源流,将其年代推定在中商中、晚期,它们同铸于南方作坊,出自两、三代铸工之手。其广泛的分布可以看作中商时期文化扩展的遗产,也曾深刻影响了殷墟青铜器的风格和工艺。殷墟青铜器接受了南方风格和工艺,尊有高浮雕纹饰但内壁却不下凹,牺首不用铸铆式后铸而是榫接式,铸铆式后铸用于其他器物,这些技术选择应体现了一些青铜铸造的组织状况。与商代南方青铜器风格的形成、发展和式微相应,安阳青铜工业迅即臻于鼎盛当和南方的影响有关,迁入工匠或是重要一途,南方铸铜作坊也被同时毁弃。

The large-mouthed angular-shouldered bronze vessels of Wushan Lijiatan are the earliest bronzes discovered to date in the Xia River valley;they belong to a type with high-relief decorative animal heads and birds executed in cast-on mold technology with decoration produced through mold-core casting. These vessels just have clear characteristics of the southern bronzes of the Shang period, and basically identical in form, decoration, and craftsmanship with objects excavated from Lu ’an Pi River, Yueyang Feijia River, Jiangling Bagutai, Zaoyang Xindian, and Guanghan Sanxingdui, and items held in the collection of the Summer Palace, Tokyo National Museum, Shanghai Museum,and Sackler Museum. Based on an analysis of style and technology of these objects,this paper shows the connections between them and suggests their shared origin and contemporaneity.This paper proposes a typology of the large-mouthed angular-shouldered vessels based on the decoration on their shoulders. Based on the casting features and decoration motives described above, two representative features can be determined, the high relief and internal decoration. They probably date to the middle to late Shang period, the casting technique displaying a southern legacy developed locally over two or three generations. The wide distribution reflects the expansion of Shang culture during the middle Shang period, displaying a profound influence of style and technology of Yinxu bronzes. Considering that the Yinxu bronzes also received the influence of southern styles and technology, and that the high-relief decorations combined with the lack of concavity or casting-on of animal heads, this choice of technology seems to reflect a formative stage of technological development. Corresponding to the emergence, development, and differentiation of southern bronze styles during the Shang period, due to the influence of southern bronze production technology, the Anyang bronze technology soon reached its peak, entering a very important path of development and at the same time destroying the southern bronze workshops.