館藏臺灣西部大坌坑文化陶片刻劃紋研究

Research on Impressed and Incised Designs on Ta-pen-keng Culture Pottery of Western Taiwan in the Collections of National Museum of Prehistory

葉美珍(Mei-Chen Yeh)

《南島研究學報》 6卷1期 (2016/06) Pp. 51-114

https://doi.org/10.29884/JAS.201606_6(1).0003

摘要

距今6500至4200年間的大坌坑文化，已知遺址分布全臺，初估已發現60餘處遺址，大坌坑文化陶器於器形與紋飾均具特色，成為辨識大坌坑文化之主要器物。在器形方面以盤口陶罐最具特色，尤其帶突脊之歛盤口罐可能為早、中期陶器代表，紋飾方面則包括繩紋、彩繪紋及刻劃紋，三類紋飾中保存機率較繩紋低但較彩繪紋高很多的幾何形刻劃紋，不僅因其辨識度高而成為大坌坑文化陶器紋飾特徵，最重要的是可傳達工匠對於陶器紋飾設計之邏輯，故以刻劃紋作為研究主題，一窺大坌坑文化陶器紋飾設計美感，及其文化傳承之意義。2013年先整理20年來採集之東部海岸6處遺址出土大坌坑文化刻劃紋陶，針對紋飾圖案作採繪、歸納、研究，將大坌坑文化刻劃紋歸納為直線系圖案及弧線系圖案，並初步探討東部陶器紋飾於時空中之傳承與變化，以及與西部大坌坑文化的關聯性。東海岸類型屬大坌坑文化中晚期，其紋飾與北部大坌坑遺址及南部鳳鼻頭遺址有所類似，顯示東部大坌坑文化陶器形式雖多已簡化，然明顯承自西部的主要紋飾，由東部地區工匠傳承且發展變化形式而成為地方特色。在探討大坌坑文化中晚期於東部之發展後，本文進一步探討西部大坌坑文化陶器紋飾。研究標本陶片二百餘片來自捐贈及田野工作採集，出自臺灣西岸北、中、南區8處遺址，包括臺北大坌坑遺址、芝山岩遺址；臺中榮泉村遺址；臺南網寮遺址、八甲遺址；高雄六合遺址、孔宅遺址、新園遺址等，標本為一手資料且多為首次報導。本文主要呈現西部大坌坑文化器形及刻劃紋圖案，從中歸納、探討西部大坌坑文化紋飾系統。由於大坌坑文化刻劃紋系統維持長久時間不墜，顯示圖案具有傳承之意義，除探討其在臺灣之發展外，或可作為外部環境探源線索。

關鍵字

大坌坑文化 ； 刻劃紋 ； 芝山岩遺址 ； 六合遺址 ； 孔宅遺址

並列摘要

Cord-marked pottery with geometric incised patterns is regarded as an important trait of the Ta-pen-keng culture (6500-4200 BP), the beginning of the Neolithic stage in Taiwan. This paper presents first-hand data on features of impressed and incised motif patterns observed on more than 200 cord-marked pottery sherds of the Ta-pen-keng culture from sites distributed in western Taiwan. The cord-marked pottery data was donated by colleagues or collected by the author in 20 years of fieldwork. The sherd samples were collected from the following 8 sites, going from north to south: the Ta-pen-keng site and the Chih-shan-yen site in Taipei; the Jung-chuan-tsun site in Taichung, the Wang-liao site and Pa-chia site in Tainan, and the Liu-ho site, Kung-chai site, and the Hsin-yuan site in Kao-hsiung. The amount of cord-marked pottery sherds collected from each site varies considerably, with most having been collected from the Chih-shan-yen, Liu-ho, and Kung-chai sites. The motif patterns observed from the above sites include straight line series and arc line series. The straight line series consists of four types of patterns: straight lines, crossed lines, zig-zag lines, and oblique parallel lines shaped like a ladder. The second series consists of two types of patterns: S-shaped lines and arc zig-zag lines shaped like small waves. Each type in both series feature a diversity of patterns from single line to multi-line. Six motif pattern types were found at the Chih-shan-yen site and the Pa-chia site, and five types were found at the Liu-ho site and the Kung-chai site. The 6 sites in eastern Taiwan are, from north to south, the Yen-liao site and the These six types of motif patterns are also found in several sites located in eastern Taiwan. The author compares the motif patterns with data published in 2014 collected from 6 sites located in eastern Taiwan in order to emphasize those traits from patterns observed in the western Taiwan sites. Kang-kou site in Hua-lien, and the Chang-kuang site, Pa-sang-an site, Chih-tien site, and the Pei-nan site in Tai-tung. Similarities and developmental relationships exist between patterns from western and eastern Taiwan . According to observation of the incised grooves of line patterns, the author suggests how the pottery makers may have incised the patterns; the author also considers the aesthetics of the patterns. The conclusion of the paper is that the patterns impressed and incised on pottery of the Ta-pen-keng culture developed to be a nearly stable tradition over 2,000 years. The patterns are indicative of something important to the Ta-pen-keng pottery makers, and their stability also implies about the significance of inheritance. The motif patterns might indicate a series of historical markers of the Ta-pen-keng culture.

並列關鍵字

Ta-pen-keng culture ； impressed and incised motif patterns observed on cord-marked pottery ； the Chih-shan-yen site ； the Liu-ho site ； the Kung-chai site