從考古材料試析遼代金銀細金工藝之特點

身為中國北方遊牧民族一支，建立遼的契丹民族雖承續了中國北方民族所開啟的黃金文化，但在工藝、使用方式與藝術品味上，遼代金銀器受到唐代金銀器的啟發更深，隨後並受到宋的影響。另一方面，契丹在金銀器的使用層面更廣，貴族甚至還將其功能延伸到喪葬文化中，而有了專為喪葬製作的網絡與覆面等明器。就遼金銀細金工藝種類來說，主要有錘鍱、敲花、鏨花、鎏金與纍絲……等。其中，契丹人偏好鏨花與敲花，特別是這些工藝效果在器表所形成的光影層次感，或在金銀器上所見的大量鏨刻圖案，線條流暢且一氣呵成，顯見當時金匠技術純熟，手藝高超。透過近年新發掘的遼代考古材料以及對早年遼代考古報告的重新梳理，除了有必要對遼代金銀細金工藝再深入的檢視之外；另一方面也應注意，工藝的發展並非永恆不變的，而是有興衰，因此必須回到遼代考古材料中以釐清各階段工藝發展的差異性。通過考古出土遼代金銀器的觀察，本文指出幾個問題：首先，遼代各類金銀工藝在各階段發展具有差異性；其次，過去學界並未認識遼的焊珠技法，但藉由遼代早期墓葬出土的黃金飾品可知，此類製作難度極高的工藝仍然持續地使用，但在中晚期已逐漸失傳；再者，遼金銀器中運用大量的拔絲、纍絲、鎏金與錯金銀，雖是在中原金銀工藝的基礎上發展，但仍存在自身的特點。其中，以纍絲工藝所製作的小金球可能係受到西伯利亞的影響。藉由分析遼代金銀工藝，我們可以更瞭解工藝不只是某種技術的發展軌跡，還是文化、品味、生產力共同交織下可見的「微觀文化」。工藝作為一種微觀的物質現象，不僅體現當時人們的品味，更揭露了宏觀的文化交流痕跡。

關鍵字

遼代；金銀器；焊珠工藝；拔絲；纍絲；鎏金；錯金銀

並列摘要

As one of the nomadic tribes of northern China, the Khitan established the Liao Dynasty and initiated a remarkable culture of gold. In terms of craft skill, as well as workshop and art taste, the Liao Dynasty was inspired by both the Tang and Song dynasties. Compared to these Chinese dynasties, however, the gold and silver wares of the Liao Dynasty exhibited a much wider application. For example, Khitan's nobility had gold and silver wares even in their funeral rituals. The craft skills applied in the Liao's gold and silver wares included hammering, chasing and repoussé, engraving, mercury amalgam gilding, wire drawing, and filigree. Of all these skills, ”chasing and repoussé” and ”engraving” were the most appealing to the Liao people because together they created a special layering of light and shadow that yielded a much-appreciated artistic effect. In addition, a high level of technical skill was exhibited in Liao goldsmiths' engraving of artifacts, which have incredibly smooth and coherent lines.As indicated by both the latest excavation findings and early research on Liao archeological materials, it is necessary to seek a deeper appreciation of Liao dynasty gold and silver art craft. Moreover, because the development of this art craft was dynamic, with numerous changes, it is essential in research to return to archeological materials to clarify the difference between each stage of development. Accordingly, this study sets forth several key perspectives. First, each stage of development was distinctive. Second, gold granulation work was discovered in gold jewelry excavated from Liao tombs-an art craft that continued until the late Liao period. Third, many skills such as ”wire drawing,” ”filigree,” ”mercury amalgam gilding,” and ”gold silver inlay,” although developed in Central China, retained the Liao style and its characteristics. One famous example, the ”gold ball” made of ”filigree,” arguably reflects the sustained influence of the Siberian style.In conclusion, ”craft” is not merely a skill showing a track of craft development, but rather a micro-culture intertwined with broad trends of culture, taste, and productivity. A craft, when considered as a micro-culture, not only reflects the artistic sensibilities of a certain period of time, but also reveals the traces of cultural exchange in the context of a larger cultural climate.