新石器時代晚期．良渚文化．玉琮

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新石器時代晚期．良渚文化．玉琮 - Jade ts'ung tube

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時間：2005-02-27 12:47

   新石器時代晚期．良渚文化．玉琮 - Jade ts'ung tube
   摘自天下文壇   畢泠  2005-02-27 12:47
http://yuhsia.com/ccb/index.pl
新石器時代晚期．良渚文化．玉琮 - Jade ts'ung tube

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新石器時代晚期．良渚文化．玉琮（Ca.3300－2200 B.C.）

[img:bff9c6608a]http://www.npm.gov.tw/en/4_pic/010108/p02c.jpg[/img:bff9c6608a]

新石器時代晚期．良渚文化．玉琮（Ca.3300－2200 B.C.）

　
在新石器時代晚期，玉琮是一種非常重要禮器。它的基本造形為方柱體，內有貫
穿的大圓孔。方形，反映出古代中國人「地方」的宇宙觀；而貫通的圓洞，可能
是象徵生民與神祇世界間的「溝通」。

華東地區新石器時代晚期的玉琮上，則常琢有特殊的「面紋」，代表著神祇、祖
先及神靈動物。「面紋」的表現方式有繁有簡。本院所藏的這件琮，外壁共分十
七節，每一節以四個近９０度轉角的邊稜為「面紋」的中軸，向左右兩側各舖展
最簡化的「面紋」─以兩道飾有平行弦紋的長橫稜表示「冠」，一道短橫稜表示
「鼻子」，兩個淺圓圈表示「眼睛」，但因年代久遠，表示眼睛的小圓圈已模糊
不清。

最值得注意的是，在這件琮上，直槽的頂端均隱藏著一個圖像。從表現方式可知，
這個圖像並不是為了裝飾，因為它的線條又淺又細，並且斷斷續續，如果不仔細
觀看，是不易察覺的，因此我們推測，此圖像可能是一種「密碼」，人與神溝通
的密碼。由於年代久遠，四個中的兩個已漫漶不清。

撰稿／鄧淑蘋
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[b:bff9c6608a]Ts'ung tube
Late Neolithic Age[/b:bff9c6608a] (Ca.3300~2200 B.C.)

Jade ts'ung tubes are one of the principal ritual objects of the late Neolithic
period.

Its basic shape is a square cylinder with a large round bore piercing its length.

The square outer shape of the ts'ung derives from the ancient universal
concept of the "square earth," whereas the round central bore is thought
to have symbolized a channel of communication between the mortal and
celestial worlds.

Late Neolithic ts'ung from eastern China are often carved with mask patterns
representing deities, ancestors and divine animals. These motifs range from
the simple to the ornate.

This ts'ung from the National Palace Museum collection is carved with 17
vertical sections.

Each of the sections has four highly schematized and simple mask designs.

The masks spread outward from each of the nearly 90-degree corners.

The crest of the mask is depicted by two long parallel bands running
horizontally, while a short horizontal band describes the nose.

The eyes are depicted as shallow rings, though the small circles depicting
the pupils have become indistinct with time and wear.

One of the most notable features of this ts'ung are the symbols concealed
at the top.

From their manner of expression, we know that these markings served no
adornment function, since their lines are shallow, fine, and intermittent.

Unless carefully looked for, they could easily go unnoticed.

From this we may conjecture that the markings were probably a kind
of "cipher," used by shamans to aid their communication with the gods.

Two of the four markings have become barely discernable with age.

* 以上，轉載自故宮博物院典藏說明，英文部分重新段落編輯。
    天下文壇天下文壇畢泠  2005-02-27 12:47
http://yuhsia.com/ccb/index.pl