宋代青銅器工藝史的重新思考：以彭州青銅器窖藏為例

Abstract

除了少數專論之外，所謂「中國晚期青銅器」（一般指唐宋以來的青銅器），無論在東方或西方藝術史研究中，尚未獲得深入探討。大部分相關研究，提及晚期青銅器時，往往只套用「仿古」一詞，但沒有探討這種風格背後的思想與動機。另外，在鑄造方式上，大部分學者認為中國自從春秋戰國時期發展出失蠟法以來，歷代銅器鑄造者一直使用相同的技術。但到晚期青銅器的階段，幾乎沒有人針對物品本身進行具體的技術分析，而將失蠟法作為研究前提。尤有甚者，目前晚期銅器風格的粗略分期，導致研究者使用「宋元」、「12至14世紀」等等，作為分期的階段，而無法更詳細地定期。 筆者認為以上的問題，主要是因為過去研究基於博物館收藏中的傳世品，而沒有廣泛、徹底使用中國各地二十年以來新出土的考古資料。目前四川省出土的宋元銅器居全國首位，其中以成都市考古所於1996年所發掘的彭州青銅器窖藏，所擁有的銅器數量與類別有助於我們更詳細地檢驗上述的籠統概念。詳細檢驗並比較彭州青銅器窖藏與其他相關資料，本文提出下述三個論點：第一，彭州所出土銅器的特殊風格推測為南宋中期（十二世紀中至十三世紀初），因此有助於更進一步對晚期銅器進行分期。第二，這些銅器的鑄造方式不限於失蠟法，也包含一種中國上古時期所沒有的塊范法。這種方法迄今只見於宋元時期的銅器。第三，彭州窖藏中所發掘的青銅禮器類別，證明彭州當地所產的禮制與南宋朝廷所提倡的禮制不同，而且也證明這個差異並非因鑄造者無法掌握朝廷的模範，而是故意有所區別。因此，本文對於宋史研究以往關心的地方意識，能夠提供文獻中無所記載的新史料。

With a few notable exceptions, the study of “later Chinese bronzes” has long languished in the shadows of academic obscurity. Generally recognized as referring to those bronzes cast during the second millennium A.D., this category has yet to attract the sustained attention of scholars in either East Asia or the West. Most commentary on the subject has been content to label the bronzes “archaistic,” without delving deeply into the mentalities and agendas that motivated their distinctive stylistic features. The scholarly community has also long operated on the assumption that later bronzes were primarily or even exclusively cast using a lost wax process, without carefully assessing the degree to which the material evidence of the bronzes themselves supports this assumption. Even more serious for the purposes of art and cultural historical inquiry is the fact that the stylistic history for later bronzes has yet to be mapped in any detail, forcing most commentators to resort to vague temporal distinctions such as “Song-Yuan” or “twelfth to fourteenth centuries.” Over the past several decades, a significant amount of new archaeological evidence has come to light that can advance scholarship on this neglected subject. Much of this evidence hails from Sichuan, which for reasons not yet entirely clear has yielded more Song and Yuan dynasty bronzes than any other province in China. The most significant of these finds is a hoard of nearly seventy bronzes that was discovered in 1996 in the city of Pengzhou, located approximately fifty kilometers from the provincial capital of Chengdu. The thesis argues that a close examination of the contents of the Pengzhou hoard and related data can advance our understanding of later bronzes in three distinct respects. First, because a significant portion of the bronzes can be dated to mid-twelfth to early thirteenth centuries, the hoard significantly expands our reference material for the reconstruction of detailed stylistic chronologies. Second, the manufacture of these bronzes did not exclusively rely on the lost wax method, but also involved a distinctive piece-mold process. Third, the contents of the Pengzhou and related hoards demonstrate the existence of a discrete ritual tradition in the greater Chengdu region, and strongly suggest that the patrons of this tradition deliberately distinguished their ritual practices from those promoted by the Song court. In this sense, the hoard offers material evidence for a brand of Southern Song localism that has yet to be identified in the textual record.