再探國立歷史博物館館藏銅鼓的類型與藝術性兼談銅鼓研究上存在的幾個問題

青銅鼓為青銅文化中重要的一部份，從春秋時期至今日，從中國西南地區至東南亞諸國均有族群持續使用銅鼓。臺灣雖然沒有出土銅鼓，但在各種時空脈絡下，典藏了許多傳世銅鼓，值得作為物質文化研究及文化傳播的研究課題。本文重新爬梳銅鼓相關研究，細緻描述國立歷史博物館典藏三面銅鼓之型制、紋飾與特色，並將其分類，再針對館藏文物的相關記載進行研究，對於銅鼓的起源地為雲夢大澤的紀錄以及使用族群百澲做進一步的討論。其中更正過往記錄的「百澲民族」，於考證後推論「百澲」應為百濮之誤植。而過往對於銅鼓最早的使用族群認定為獠族，今重新對照文獻及族群理論，討論藉由共同的文化或是地理特徵來分類族群是否有其限制？獠、百濮、百越都是族群的泛稱而非指稱特定民族，因此似乎難以斷言，銅鼓最初之製作者屬於哪一個族群。是故在未來的討論上，應針對特定區域不同文化或是特定族群的銅鼓使用脈絡討論，以期有更完整而客觀的觀點。

關鍵字

青銅鼓；藏品研究；國立歷史博物館

並列摘要

Bronze drums are an important part of the bronze culture. Different groups who live in the south-western China and countries in South-east Asia use bronze drum from 400B.C to the present. Although there were not bronze drums were excavated in Taiwan. There are still a few bronze drums in Taiwan which was traded or carried to the island. These drums with documents are worthy for material cultural research. In this article, I would like to review previous research, deeply describe the three bronze drums, which are collected in the National Museum of History, and then discuss the using context, origin and ethnic groups. Base on the research, it could be indicated that「百澲」on the record was inferred to be a misunderstanding as 「百濮」.Besides, according to previous record, Liao people was considered as the first group who use bronze drum. However, it could be indicated that Liao is a generic terms of ethnic groups rather than refer to specific ethnic groups, so it seems difficult to assert which ethnic group the original producer of the bronze drum belonged to. Therefore, in the future discussion, we should discuss the different cultures of the special regions or the bronze drums of specific ethnic groups in order to have a more complete and objective view.