圓山文化之製陶技術選擇與技術體系：以大坌坑與圓山遺址為例

Abstract

臺灣考古學在討論文化時，在特定地理和時間的分佈範圍內，出土類似物質文化的遺址，會被視為同一個文化，或是根據幾種特殊的遺物界定文化，例如：雙口圈足瓶與三口圈足瓶為圓山文化的特色，且僅見於圓山文化，因此，出土這類物質遺留的遺址就被界定為圓山文化或同為圓山文化。不過，這種文化的界定方式可能太過武斷，遺址之間差異的過程也容易被忽略，而近年來發展的「技術選擇」可提供另一個瞭解文化內涵的角度和方法，也跳脫了以往透過特定物質遺留的有無討論文化及社群之間的親源關係。技術被認為可反應出人類的行為，受自然資源與物理性質的限制，同時也受文化形塑影響，不同文化的人群可能會有不一樣的技術選擇而形成自有的技術體系，所以可透過技術體系的研究探討人群的文化偏好，甚而彼此之間的群體認同。 因此，本研究試圖以技術選擇為切入點，探討同樣被視為圓山文化的大坌坑遺址與圓山遺址，座落不同地點、歷經不同的歷史環境，其製陶技術體系是如何固守、維持傳統？或發展出不一樣的陶器傳統？並根據大坌坑遺址與圓山遺址的技術風格推測兩遺址間是否存在著社群的區隔與界線？期冀由此能對圓山文化的內涵與發展有更深入的瞭解。 分析圓山文化時期大坌坑遺址與圓山遺址陶器製作的每一個步驟後，發現兩遺址的製陶體系頗為相似，顯示出兩遺址的人群雖生活在不同地點且並不完全相同的年代，仍堅持著同一套製陶技術選擇與技術風格，這是否顯示大坌坑遺址與圓山遺址的人群可能秉持著相似的社群認同？當然，兩遺址人群的社群認同仍須納入更多面向與討論才得以清楚地理解。

Generally speaking, different sites with similar materials would be regarded as belonging to the same archaeological culture. However, as Tapenkeng site and Yuanshan site both are classified into Yuanshan culture, their ceramics are different in surface patterns as well as surface color. It is wondering that since they were through different historical processes, the ceramic manufacturing of the two sites were also different besides pottery color and decoration pattern. In other words, whether people in two sites insisted on practicing the same pottery-making technologies or adopted different methods since they were inhabited in different areas and existed in different time. Besides, the way of defining “culture” in Taiwan archaeology is usually based on the existence or absence of specific artifacts. For example, foot-ringed jar with two mouths is the diagnostic artifact of Yuanshan culture. Hence, if there are jars with two mouths found in a site, the site will be classified into Yuanshan culture. This method of defining a culture is too arbitrary and prone to neglect the subtle difference between sites. The similarity and difference of the cultural assemblages of sites should be studied profoundly and thoroughly in order to understand their relationship. To answer the question and recognize the problem of culture-defining method, it will apply “technical choices” approach as methodology to pursuit the questions in this research. This approach is based on Bourdieu’s practice theory and chaine operatoire, asserting that technology is shaped by physical properties, natural environment and cultural preference as well. According to ethnography, people in different cultural context may make diverse choices and form different technical style; therefore, by defining the discontinuity of technical style in space or time, we might detect the social boundary of sites or groups. After analyzing ceramic manufacture step by step and interpreting the technical choices of groups in Tapenkeng and Yuanshan site, the results suggest that the ways of manufacturing pottery in these two sites were extremely alike, which showed people inhabited in different locations carried out the same potter-making methods and practiced similar technical style despite the difference on decoration pattern and color. In addition, the results imply that people in Tapenkeng and Yuanshan sites might hold a similar social identity. However, the detection of social identity should subsume more cultural and material aspects to make further interpretations.