植物園文化之製陶技術選擇兼論縞狀陶製作

Abstract

物質表現向來是考古學認識一個文化的開始，被界定為同文化的遺址常常會有類似的遺物組合、形式風格，然而這樣的歸類並無法呈現出遺址之間的內涵與可能的差異。以工藝製造的技術選擇為研究取徑，可以細緻地檢視不同遺址出土文物之間的技術體系，觀察在大文化傳統背景的形塑之下，是否因為自然環境差異、周遭資源掌握力、次群體的地方認同、個人能動性等不同的條件，造成些微的差別。透過這樣的比對能夠探究不同遺址人群的物品製作偏好、技術理念，進而延伸到製作水準的比較或者族群認同的命題。 本研究以技術選擇的角度切入，討論植物園文化的次人群佔居於不同地理區、地質區的大坌坑遺址、狗蹄山遺址、大園尖山遺址，在不同環境和歷史發展背景下，是否仍堅持植物園文化的製作傳統，抑或因應當地特性而有所適應和調整。經由分析發現，三個遺址之間的陶器製作體系並無太大的差異，反映人群的認同感或對文化傳統的維繫，超越時空差異和環境限制，達到相當程度的一致性。 由陶器製作體系進一步探究植物園文化常見的縞狀陶。縞狀陶常被視為植物園文化的典型和特色，然而自發現以來對其討論並不多，本研究藉由岩相分析、原料組成配合地質區的檢視，推測植物園文化人善用紅土摻水軟化、脫水硬化的特性，以及所含游離氧化鐵所產生的化學膠結力，加入到陶土中作為調和，藉此提高其塑性、穩固性和強度。此種理解更深化植物園文化人在製陶上的文化偏好與選擇。 然而，技術選擇的相似性並不能直接等同於族群認同；縞狀陶的製作也有待諸多討論與驗證，盼此分析能夠提供日後植物園文化陶器研究之基礎，對於植物園文化陶器製作體系與縞狀陶製作技術的了解得以更加深入和完整，藉以窺知植物園文化人群的內涵。

Material performance has always been the starting point of understanding an archeological culture. Multiple sites coming from the same culture often display similar combinations of archeological remains, with similar form or style. However, this classification cannot present the connotation of each sites, and the differences between them. With the approach of ‘technical choice’ in the manufacturing process, we are able to compare the technical system between sites, and observe—not taking into account the context of different cultural backgrounds—whether slight differences exist due to factors such as natural environment, ability to utilize nearby resources, and personal mobility. Through this comparison, we can explore artifacts production preferences and technical ideas behind each site. Based on this finding, we can then compare the quality of production or focus on key issues of ethnic identity. This study uses the ‘technical choice’ approach as its methodology to look at three subgroups of Botanical Garden Culture in different sites, each located in a distinct geographical location and geological environment. The central question is: in the context of different environments and differing historical developments, do these sites retain certain manufacturing traditions, or do they adapt and adjust for local characteristics accordingly? Analysis results indicate that there is no significant difference in the pottery production system between these three sites, which reflects the strong identity of the people and the resilience of cultural traditions, transcending differences in time and space and environmental restrictions to achieve a considerable degree of consistency. This research takes a closer look at the pottery production system and focuses on the special banded pottery often discovered in the Botanical Garden Culture. This type of pottery is often regarded as a typical characteristic of the Botanical Garden Culture. However, there is little discussion on this topic in the current academic literature. In this study, we compare the results of petrographic analysis and the composition of the raw materials in connection to the geological area to propose a hypothesis: the potters make good use of laterite’s nature—it softens when water is added, and hardens when dehydrated. Also, there is free iron oxide in the laterite, resulting in strong chemical bonding force. Mixed with clay, the laterite boasts enhanced plasticity, stability and intensity. However, the similarity of technical choices cannot be directly attributed to ethnic identity; the production of banded pottery also requires further discussion and verification. We hope this study can provide a basis for future research in the pottery analysis of the Botanical Garden Culture and offer insights into the understanding of the its pottery production system and banded pottery manufacturing technology, in order to take a glimpse of the connotation of the Botanical Garden Culture people.