殷墟末期直棱紋與鳳鳥紋有關的青銅器——從「分器」角度的考察

Bronze Vessels in Relation to Vertical Ribs and Phoenix Bird Motifs of the Late Shang Dynasty: From the Perspective of Fenqi (Divided up Booty)

本文是基於筆者前文論證西周前期的青銅器有「分器」現象而進行的後續研究。反過來從關中地區西周早期墓葬中出土的一些青銅器來推測殷墟末期的青銅器。
首先筆者關注三個目前已知的「禁」組，並且針對「出戟禁組」進行了綜合研究與復原。接著研究禁組上的直棱紋鳳鳥紋卣，以及帶有直棱紋與鳳鳥紋的幾種器類，包括：直棱紋鳳鳥紋觶、四耳乳釘紋簋、直棱紋附耳鼎、直棱紋鳥紋尊與卣、直棱紋簠、棘羽鳳鳥紋器等，論證這些器形中的多數都是殷墟末期的器物，而且直棱紋與鳳鳥紋的運用是殷墟末期強化青銅器紀念性的一個方法。
如何證明這些器中多數是殷墟末期器物？總結地說，本文討論的青銅器：一、同一器類中有傳世品也有出土品，出土品中很多出自不同類型的分器墓；二、銘文都是商貴族的名號元素，如族徽、親稱，特別是使用日干；三、器類最早在殷墟III或IV期出現；四、曾在安陽孝民屯青銅器作坊發現模或範；五、科學檢驗部分關鍵器的芯土，發現芯土的各種化學成分分析圖落在「安陽區塊」，說明是安陽製造；六、此種裝飾炫麗的器類或紋飾突然停止不再演化，顯示受到政治動亂或政策改變的影響。以上現象都說明一件事情，這些器物雖然有部分出土於西周初期的墓葬，但是它們其實是殷墟末期在安陽大邑商作坊製作，因為「分器」才被分別帶到關中。由於本文討論的具有直棱紋與鳳鳥紋的器類，多半屬於「炫麗風格」，但還有更多被帶到關中的殷末青銅器屬於「保守風格」，筆者判斷，以直棱紋加鳳鳥紋，搭配其他紋飾與器形元素，如出戟、加附耳、大耳等是殷墟末期青銅器創造紀念性（monumentality）的配方。
最後從棘羽鳳鳥紋方彝切入，發現方彝除了與大、小卣構成禁組之外，也與觥、尊形成另一種組合，另外尊與大、小卣的組合也起源自商代，延續到西周早期。從這些例子可以看出商代晚期在禮制上逐漸脫離動態飲酒禮儀，進入靜態祭祀與擺設，這是殷墟末期青銅器組合的重要發展。

The present article is a follow-up study based on the author’s previous argument (2012, 2013) on the phenomenon of fenqi分器(divided up booty) regarding early Western Zhou bronze vessels. It aims to infer the characteristics of late Shang bronze artifacts by examining bronze vessels excavated from early Western Zhou tombs in the Guanzhong region.
First, the author focuses on three currently known jin禁(altar) sets and conducts a comprehensive study and reconstruction of the chuji jin出戟禁(protruding ji halberd altar) set. The study then examines the you卣vessel with vertical ribs and phoenix bird motifs on top of the altar and all other vessels, not just limited to you, with the same motifs from archaeological excavations and museum collections, including the zhi觶with vertical ribs and phoenix birds, the four-handled gui簋with ruding乳釘(boss) motif, the ding鼎with vertical ribs and handles, the zun尊and you with vertical ribs and birds, the fu簠with vertical ribs, and vessels with pointed-feather phoenix birds. It is argued that most of these vessel forms are artifacts from the late Shang period and that the use of vertical ribs and phoenix bird motifs was a method to create the monumentality of bronze vessels during this period.
Several pieces of evidence are expounded in this article to demonstrate that most of these vessels are from the late Shang dynasty: (1) among the same types of vessels, which can be categorized as passed down (namely being in museum collections) or excavated, the latter has been primarily found in different forms of fenqi tombs; (2) the inscriptions on these vessels contain elements associated with the names of Shang nobility, such as clan signs and kinship terms, as well as using day stems; (3) these vessel types first appeared in Phase III or IV of the Yin period; (4) molds or models have been discovered at the bronze workshop in Xiaomintun, Anyang; (5) scientific analyses of the core soil from key vessels reveals that its chemical composition falls within the“Anyang block,”indicating them to be the product of Anyang; (6) the sudden end in the evolution of these flamboyant vessels and ornate motifs suggests a definitive end to their style by the influence of political turmoil or change of government policy. These phenomena in summation indicate that despite being excavated from early Western Zhou tombs, some of these vessels were actually produced in the late Yin period at the Shang workshops in Anyang. The concept of fenqi then explains how they were distributed to the Guanzhong region. The vessel types discussed in this article, characterized by the vertical ribs and phoenix bird motifs, mostly belong to a“flamboyant”style, but others brought to the region can be regarded as more“conservative”in style. Nonetheless, the author concludes that the combination of these motifs, along with other decorative elements and vessel forms such as protruding edges and certain handles, constitutes the formula for creating the monumentality of bronzes in the late Shang.
Finally, when examining the square ritual yi彝wine vessel with pointed-feather phoenix bird motif, it has been found that the yi not only forms an altar set with the large and small you, but also creates another combination with the gong觥and zun vessels. Notably, the set of zun with large and small you had originated in the Shang and continued into the early Western Zhou period. These examples demonstrate that during the late Shang dynasty, there was a gradual shift in ritual practices from dynamic drinking ceremonies to static sacrifices and displays, marking an important development in bronze vessel sets as the Shang drew to a close.