摘要
公元前4000年前后,长江下游地区由马家浜文化进入到崧泽文化,环太湖周边水系承载了聚落群形成和发展的重任。崧泽文化晚期,集群发生了大规模移动,鉴于木材、石材、玉材等资源优势,最终选定良渚遗址群所在地作为发展基地。良渚文化时期玉文化反映的原始宗教信仰,体现在聚落等级和聚落规模、墓主身份和地位等方面,其形成过程也就是琮、璧、钺和神人兽面像的形成过程。崧泽文化时期祭器和礼器的形式丰富多样,而良渚文化时期琢玉工艺则形成了固定和僵化的格式,作为身份地位的标识和神秘主义的表达,这些变化预示着社会变革的来临。随着资源的枯竭、艺术创造力的消怠甚至迷失以及外部因素的冲击,良渚文化降下了帷幕。
Around 4000 BC when the lower reach of the Yangtze River just transited from the Majiabang to the Songze, the Taihu Lake basin became a key area where settlements were formed and developed.When it came to the late period of the Songze Culture, these settlements started migrating seeking better resources such as woods, stones and jades, and finally settled in the area which later developed the Liangzhu Culture. The primitive religious belief represented in the jade culture of Liangzhu can be seen in the grade and scale of the settlement and the identity and social status of the tomb owner. Along with the forming of the jade culture, jade objects such as cong, bi, yue and animal-faced shaman figures were produced. While in Songze Culture the ritual and sacrificial wares enjoyed a great variety, the jade carving in Liangzhu was formalized in some standardized style as an expression of social status and mysticism. Such cultural change indicated the forthcoming of a social change: the Liangzhu Culture came to an end with the exhaustion of resources, the missing of artistic creativity, and the affects from external factors.
出处
《东南文化》
CSSCI
北大核心
2015年第1期102-112,共11页
Southeast Culture
关键词
崧泽文化
良渚文化
聚落变迁
统一信仰
环太湖流域
玉文化
琢玉工艺
斧钺
神人兽面像
Songze Culture
Liangzhu Culture
settlement transition
unified belief
Taihu Lake basin
jade culture
jade carving
battle-axe
animal-faced shaman figures.
