本地性的新視野：春秋新鄭李家樓墓銅器研究

Abstract

1923年出土的新鄭李家樓墓是20世紀中國最早出土的銅器墓之一，與中國青銅器研究的發展緊緊相連。儘管此墓為非科學出土，缺乏考古資訊，器物組合亦不完整，墓內的銅器仍因華麗的裝飾風格而備受關注，是理解春秋中、晚期銅器風格樣貌的重要材料。長久以來，學界將李家樓墓視為單一墓葬進行研究，著重於墓葬年代、墓主身份與銅器文化因素等議題，而未注意到此墓與本地的連結。直至近年，新鄭地區考古材料相繼發表，從本地性的新視野出發進行研究，才變得可行。

為了釐清李家樓墓所處的時空脈絡，本文進行了新鄭地區銅器墓與仿銅陶器墓的綜合研究。除了以類型學方法，統整出流行的器類和組合，也梳理了本地銅、陶器之間的互動關係，勾勒出春秋時代新鄭地區的物質文化樣貌。此外，本文也藉著近年的新出土資料，以及對新鄭本地銅、陶器的綜合研究，為李家樓墓銅器重新進行定年，並探討這批銅器與其他區域的交流關係。本文認為，李家樓墓的年代並非前人所稱的春秋中期晚段，而是一座春秋晚期早段墓葬。墓內銅器不僅包含了新鄭的特色形制，也暗示了此墓與南方地區之間具有複雜的互動網絡。從器物組合與風格的關係來看，也顯示出時代推進下的不同追求。最後，本文結合藝術史的研究方法，討論了墓內蓮鶴方壺、銅罍與銅𨨛等三個器類。研究結果顯示，無論是與外地文化的交流，或是與本地文化的互動，李家樓墓銅器反映出更多的自主性選擇。過去研究經常採用「此墓受晉、楚文化影響」的論述，或許應該修正。

透過本地性的新視野研究，不僅豐富了李家樓墓銅器的既有認識，也為理解春秋中、晚期銅器提供了新的角度。本文認為，李家樓墓銅器清楚顯示了自「趨同」邁向「趨異」的風格轉變，這樣的轉變主要得益於本地性的發展與創新。本地的動能，正是促進春秋晚期銅器風格多樣化的主要因素。

The Lijialou tomb in Xinzheng, excavated in 1923, is one of the earliest bronze tombs unearthed in 20th century China and is closely related to the development of Chinese bronze research. Although this tomb was not scientifically excavated and lacks archaeological information, as well as an incomplete set of artifacts, the bronze vessels inside the tomb still attract attention due to their splendid decorative style, making them an important material for understanding the stylistic features of bronze vessels in the Spring and Autumn periods. For a long time, the academic community has regarded the Lijialou tomb as a single burial site for research, focusing on issues such as burial age, the identity of the tomb owner, and cultural factors of bronze vessels, without paying attention to its local connections. It was not until recent years that archaeological materials from the Xinzheng area were successively published, which made it feasible to take a local perspective study.

To clarify the temporal and spatial context of the Lijialou tomb, this study conducted a comprehensive analysis of bronze vessels and imitation bronze pottery tombs in the Xinzheng area. In addition to using typological methods to integrate the popular types of vessels and their combinations, we also examined the interaction between local bronze and pottery, outlining the material culture of the Xinzheng area during the Spring and Autumn period. Furthermore, by using newly unearthed data and a comprehensive study of local bronze and pottery, this paper re-dated the bronze vessels from the Lijialou tomb and investigated their exchange relationships with other regions. The paper argues that the Lijialou tomb is not from the middle Spring and Autumn period as previously thought, but rather a tomb from the late Spring and Autumn period. The bronze vessels in the tomb not only include the unique forms of Xinzheng, but also suggest a complex interaction network between this tomb and southern regions. From the relationship between the object assemblage and style, different pursuits under the progress of time are also evident. Finally, this study used the research method of art history to discuss three types of vessels found in the tomb: the lotus and crane “hu”, bronze “lei”, and bronze “he”. The results of the study show that regardless of exchange with outside cultures or interaction with local cultures, the bronze vessels from the Lijialou tomb reflect more autonomous choices. The previous discourse on this tomb being influenced by Jin and Chu cultures may need to be revised.

Through the local perspective of this study, not only has the existing knowledge of the bronze vessels in Lijialou tomb been enriched, but new insights have also been provided for understanding the bronze vessels of the middle and late Spring and Autumn period. This paper argues that the bronze vessels in Lijialou tomb clearly demonstrate a stylistic transition from "convergence" to "divergence," which is mainly attributed to the development and innovation of local characteristics. The driving force of the local development is the main factor that promotes the diversification of the styles of bronze vessels in the late Spring and Autumn period.