東周時期紅銅鑲嵌青銅器研究

Studies on Copper-inlaid Bronze Vessels of Eastern Zhou Period

游玲瑋(Ling-wei Yu)

指導教授 ： 陳芳妹

共同指導教授 ： 陳光祖

國立臺灣大學/文學院/藝術史研究所/碩士(2015年)

https://doi.org/10.6342/NTU.2015.00682

摘要

東周時期，以鑲嵌工藝裝飾的青銅容器大量出現，鑲嵌物質與青銅底色形成色彩對比，青銅器出現了平面而多彩的鑲嵌風格，有別於商代和西周時期，以浮雕為裝飾的單色青銅器。

紅銅是第一種鑲嵌於青銅器上的金屬，在鑲嵌風格中最早出現。本文突破以往對紅銅鑲嵌的研究，將紅銅鑲嵌青銅器的紋飾與技法作了全面的梳理。第一部分是將紅銅鑲嵌的紋飾風格分為五種類型：A型塊面狀動物紋飾、B型輪廓線動物紋飾、C型圖像紋飾、D型勾連雷紋與流雲紋、E型幾何紋飾。藉由墓葬考古出土品，輔以傳世品，將各類型紋飾排列出時代的先後順序，了解紅銅鑲嵌紋飾的發展脈絡。第二部分是將鑲嵌紋飾與製作技法互相連結，藉助前人的科學檢測與觀察不同鑲嵌技法的特徵，剖析五種紋飾風格與鑄鑲法、錯嵌法、擬紅銅鑲嵌(顏料與漆)這三種技法的關係，釐清鑲嵌技法的製程，再探究製作紅銅鑲嵌青銅器的作坊與工藝上的專業化現象。

第三部分是探討紅銅鑲嵌青銅器的使用脈絡與文化意涵，釐清使用者的身分地位，從水器、媵器和墓葬中的青銅器組合，反省過去將紅銅鑲嵌青銅器視為弄器的觀點。最後將紅銅鑲嵌工藝置入東周時期禮制重構的環境背景，紅銅鑲嵌青銅器有別於東周時期的復古現象，以創新風格作為特殊身分的象徵，並帶動了青銅器追求色彩的新審美觀。

關鍵字

青銅器 ； 東周 ； 紅銅鑲嵌 ； 鑄鑲法 ； 禮制重構

並列摘要

In early 6th BCE (Middle Spring and Autumn period), bronze vessels with inlay started to flourish. Copper, gold, silver, turquoise, malachite, and glass, made bronze vessels colorful and stunning. The colorful bronze vessels were especially different from those monochromatic in Shang and Western-Zhou period, and became what we called the “inlay style”.

Copper was the first metal used in inlay decoration. The thesis concentrated on the development of copper inlay decorations and the meaning of copper-inlaid bronze vessels in “ritual reconsturucture” in Eastern Zhou Period. Through archaeological excavation and the collections in museums, the first part of the thesis was classifying copper decorations to five groups according to motifs, styles, and techniques. Group A: copper-unit animal decorations. Group B: animal decorations with outline. Group C: pictorial decorations. Group D: stiff geometric patterns with spirals, hooks, and volutes, and free-flowing curvilinear patterns. Group E: simple geometric decorations. Through the classification, the sequence of copper inlay decorations could be ordered.

Next, the thesis connected five groups of decorations to three inlay techniques: cast-inlay method, hammer-inlay method, and pseudo-copper inlay (pigment paste and lacquer). More than organized the timeline of techniques, the thesis surmised the detailed process of fabrication, the location of workshops, and the specialization of craft.

Last but not least, the thesis tried to comprehend the users of copper-inlaid bronze vessels, and argued these bronze vessels were not just knickknack, but symbol of high-ranking nobles. These nobles preserved the archaic bonze vessels to show legal political power for on hand. And for the other, they patronized new style and new technique－the copper inlay. Different metals and semi-precious stone joined inlay materials subsequent to copper. Copper inlay prompted nobles to pursuing colorful bronze vessels and formed new aesthetics.

並列關鍵字

bronze ； Eastern Zhou ； copper-inlay ； cast-inlay ； ritual reconsturucture

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