Kaoguxuebao 2018-1
From：Chinese Archaeology NetWriter：Date：2018-06-29
KAOGU XUEBAO
(Acta Archaeologica Sinica)
No. 1, 2018
Contents
Wei Jiyin,
The Origin, Development and Nature of Xinzhai Culture……………………………………………………………………………………(1)
Huang Yifei,
The Inscription of the Ba Bo Yu-basin and the Audience and Mission Ceremonies of the Western Zhou Dynasty：also on King Mu’s Formulation of Ritual Systems………………………………………………………………………………… (25)
Zhao Deyun,
Studies on the Bronze Staff Heads Unearthed in the Xinan Yi Areas ……………………………………………………………………………………(49)
Suo Dehao,
A Preliminary Study on the Pottery Figurines of the Han and Jin Dynasties Unearthed in Sichuan …………………………………………………………………(69)
Shanxi Provincial Institute of Archaeology et al.,
The Excavation of the Tomb M1017 at the Dahekou Cemetery of the Western Zhou Dynasty in Yicheng, Shanxi …………………………………………………………(89)
THE ORIGIN, DEVELOPMENT AND NATURE OF XINZHAI CULTURE
The term “Xinzhai Culture” refers to the archaeological culture represented by the remains of Phases II and III of the Xinzhai Site, which is mainly distributed in the middle and upper reaches of the Ying颍 River to the south of Mount Song. In terms of artifact categories and the quantities of artifacts of each category, about 77% of the cultural elements of the early phase of Xinzhai Culture are from Zaolütai Culture in eastern Henan, and only about 20% are from the local Wangwan Phase III Culture. In term of pottery decoration style, checkerboard pattern is the most popular, followed by basket pattern, and cord pattern takes the third position, which is also consistent with that of Zaolütai Culture but different from the decoration style of the Wangwan Phase III Culture which occupies the same area with the Xinzhai Culture. These phenomena show that the Zaolütai Culture is the main resource or forerunner of the Xinzhai Culture. In terms of artifact categories and the quantities of artifacts of each category, about 69% of the cultural elements of the late phase of Xinzhai Culture appear in the early Erlitou Culture, and about 86% of the cultural elements of the early Erlitou Culture can find origins in the late phase of Xinzhai Culture. In term of pottery decoration style, cord pattern took low proportion in the early phase of Xinzhai Culture, but its proportion was continuing to rise; to the Erlitou Culture period, cord pattern took the preeminent position, showing that Xinzhai Culture is the forerunner of Erlitou Culture. At first, Zaolütai Culture advances westward, and formed the Xinzhai Culture in central Henan; and then, the latter advanced westward again into Luoyang Basin and formed the Erlitou Culture finally. Erlitou Culture is the mid and late Xia Culture, Xinzhai Culture is the early Xia Culture, and the Zaolütai Culture is the Proto-Xia Culture.
by
Wei Jiyin
THE INSCRIPTION OF THE BA BO YU-BASIN AND THE AUDIENCE AND MISSION CEREMONIES OF THE WESTERN ZHOU DYNASTY:ALSO ON KING MU’S FORMULATION RITUAL SYSTEMS
The inscription of the Ba Bo Yu-basin (Yu-basin of the Earl of Ba) unearthed at the Dahekou Cemetery in Yicheng County, Shanxi mentioned the audience and mission ceremonies of the Western Zhou Dynasty, which is the most complete primary material about the audience and mission ceremonies of the Western Zhou Dynasty with significant academic values. The event recorded in the inscription of Ba Bo Yu-basin was the processes of the Earl of Ba's audience with the Son of Heaven (the king of the Western Zhou), and stories of the Son of Heaven ordering Bo Lao (the Elder, a senior official) to receive the Earl of Ba and give him praise and encouragement. The agenda of the audience of the Earl of Ba with the Son of Heaven and the reception of Bo Lao to the Earl of Ba consisted of three stages, which were that on the first day, Bo Lao bestowed gifts to the Earl of Ba in the name of the Son of Heaven and the latter also present gifts in return; on the second day, Bo Lao gave praise and encouragement to the Earl of Ba and the Earl of Ba presented the formal gifts to Bo Lao, and then Bo Lao entertained the Earl of Ba with a feast; finally, when the audience with the Son of Heaven finished, Bo Lao sent the Earl of Ba off to the suburb and again presented him farewell gifts. The inscription of Ba Bo Yu-basin bears not only the records about the ceremonies but also many details about the etiquettes, such as the etiquettes of saluting, entertaining the commissioner, inquiring and replying between the host and guest, presenting and recompensing, and so on. All of these details were either the same as that recorded in Yili (Book of Etiquette and Ceremonial) or supplementing the historic literature. The audience and mission ceremonies in the Western Zhou Dynasty were not completely the same as that recorded in the Pinli (the Ceremonial of a Mission) and Jinli (the Audience) chapters of Yili, such as the order of the presentation of the ritual jades and other gifts such as silks and leathers, the numbers of presentations of silks and leathers, the returning of the ritual jades to the commissioner and the presenting of gifts in return, etc. Through the research on the inscription of Ba Bo Yu-basin, it is known that the audience and mission ceremonies recorded in Yili were developed from the ritual system of the Zhou Dynasty formed in the reign of King Mu of the Western Zhou Dynasty, and the inscription of Ba Bo Yu-basin is the earliest note of the audience and mission ceremonies of the Western Zhou Dynasty seen to date.
by
Huang Yifei
The inscription of the Ba Bo Yu-basin (Yu-basin of the Earl of Ba) unearthed at the Dahekou Cemetery in Yicheng County, Shanxi mentioned the audience and mission ceremonies of the Western Zhou Dynasty, which is the most complete primary material about the audience and mission ceremonies of the Western Zhou Dynasty with significant academic values. The event recorded in the inscription of Ba Bo Yu-basin was the processes of the Earl of Ba's audience with the Son of Heaven (the king of the Western Zhou), and stories of the Son of Heaven ordering Bo Lao (the Elder, a senior official) to receive the Earl of Ba and give him praise and encouragement. The agenda of the audience of the Earl of Ba with the Son of Heaven and the reception of Bo Lao to the Earl of Ba consisted of three stages, which were that on the first day, Bo Lao bestowed gifts to the Earl of Ba in the name of the Son of Heaven and the latter also present gifts in return; on the second day, Bo Lao gave praise and encouragement to the Earl of Ba and the Earl of Ba presented the formal gifts to Bo Lao, and then Bo Lao entertained the Earl of Ba with a feast; finally, when the audience with the Son of Heaven finished, Bo Lao sent the Earl of Ba off to the suburb and again presented him farewell gifts. The inscription of Ba Bo Yu-basin bears not only the records about the ceremonies but also many details about the etiquettes, such as the etiquettes of saluting, entertaining the commissioner, inquiring and replying between the host and guest, presenting and recompensing, and so on. All of these details were either the same as that recorded in Yili (Book of Etiquette and Ceremonial) or supplementing the historic literature. The audience and mission ceremonies in the Western Zhou Dynasty were not completely the same as that recorded in the Pinli (the Ceremonial of a Mission) and Jinli (the Audience) chapters of Yili, such as the order of the presentation of the ritual jades and other gifts such as silks and leathers, the numbers of presentations of silks and leathers, the returning of the ritual jades to the commissioner and the presenting of gifts in return, etc. Through the research on the inscription of Ba Bo Yu-basin, it is known that the audience and mission ceremonies recorded in Yili were developed from the ritual system of the Zhou Dynasty formed in the reign of King Mu of the Western Zhou Dynasty, and the inscription of Ba Bo Yu-basin is the earliest note of the audience and mission ceremonies of the Western Zhou Dynasty seen to date.
STUDIES ON THE BRONZE STAFF HEADS UNEARTHED IN THE XINAN YI AREAS
Bronze staff heads are a kind of popular artifacts in the Xinan Yi (Southwestern Barbarians) archaeology. This paper discusses their types, dates, functions, usages and relationships with specific peoples and local cultures distributed in various regions, as well as the cultural communications and interactions in different regions reflected by them, and other relevant issues. This paper classifies the bronze staff heads found in the Xinan Yi areas into Categories A and B, and Category A was again divided into five types, all of which were popular during the late Warring-States Period through the early Eastern Han Dynasty and belonging to the Dian Culture and the bronze cultures in the western Yunnan plateau regions, the Hengduan Mountain Range in northwestern Yunnan and Yanyuan; most of these staff heads were the local products where they were unearthed, only very few cases of direct transfer and diffusion were found. On their origins, this paper suggests that they would have close relationship with the Eurasian steppe areas. Their usages is a noticeable issue; referring to the shapes and details of their forms, this paper rules out the possibility of their uses as scepter heads or turtledove cane (monarchs' gift for elders) heads; based on the relevant iconographic materials and unearthing contexts, this paper points out that these staff heads in the Xinan Yi areas were used as ritual implements in some funeral ceremonies, which were also found in the Eurasian steppe areas, and their common backgrounds might be the shamanism beliefs which ever existed in these two areas.
by
Zhao Deyun
Bronze staff heads are a kind of popular artifacts in the Xinan Yi (Southwestern Barbarians) archaeology. This paper discusses their types, dates, functions, usages and relationships with specific peoples and local cultures distributed in various regions, as well as the cultural communications and interactions in different regions reflected by them, and other relevant issues. This paper classifies the bronze staff heads found in the Xinan Yi areas into Categories A and B, and Category A was again divided into five types, all of which were popular during the late Warring-States Period through the early Eastern Han Dynasty and belonging to the Dian Culture and the bronze cultures in the western Yunnan plateau regions, the Hengduan Mountain Range in northwestern Yunnan and Yanyuan; most of these staff heads were the local products where they were unearthed, only very few cases of direct transfer and diffusion were found. On their origins, this paper suggests that they would have close relationship with the Eurasian steppe areas. Their usages is a noticeable issue; referring to the shapes and details of their forms, this paper rules out the possibility of their uses as scepter heads or turtledove cane (monarchs' gift for elders) heads; based on the relevant iconographic materials and unearthing contexts, this paper points out that these staff heads in the Xinan Yi areas were used as ritual implements in some funeral ceremonies, which were also found in the Eurasian steppe areas, and their common backgrounds might be the shamanism beliefs which ever existed in these two areas.
A PRELIMINARY STUDY ON THE POTTERY FIGURINES OF THE HAN AND JIN DYNASTIES UNEARTHED IN SICHUAN
By posture and appearance, the pottery figurines of the Han and Jin Dynasties unearthed in Sichuan can be classified into 10 types: standing figurine with hands crossing before the chest, farming and hunting figurine, housework doing figurine, performing entertainer figurine, seated figurine (guests, tomb occupant, etc.), infant figurine, walking figurine (serving the master's traveling), warrior figurine, double figurine, deity and monster figurine, etc. By assemblage and characteristics, the pottery figurines of the Han and Jin Dynasties unearthed in Sichuan can be dated into four phases and eight stages, which are the mid Western Han Dynasty, the late Western Han through early Eastern Han Dynasty, the mid Eastern Han Dynasty to the early period of the reign of the Later Lord of the Shu Han Kingdom of the Three-Kingdoms Period, and the later period of the reign of the Later Lord of the Shu Han Kingdom through the Southern Dynasties. During the four phases, there have been three noticeable changes: the first occurred at the end of the Western Han Dynasty, the slender pottery figurines were changed into short puppet-shaped figurines. The second occurred in the mid Eastern Han Dynasty, which was the forming of the figurine assemblage with the local features of Sichuan. The third change took place in the Jin Dynasty, the categories of the figurines in the Eastern Han Dynasty mostly disappeared and the figurine assemblage with the features of the Jin Dynasty emerged. The evolution of the pottery figurines was influenced by the geographic environment, politics, economy, culture and migrations of Sichuan area. The origin of the pottery figurines of the Han Dynasty in Sichuan was pluralistic, which succeeded the traditions of the wooden figurines of the Chu State and local Shu State, and also absorbed the influences from Chang'an, Luoyang, Nanyang and other regions. In the mid through late Eastern Han Dynasty, when the figurine assemblage with local styles formed in Sichuan, this new assemblage spread to the surrounding areas centered by the Chengdu Plain, and the spreading range was mainly limited in the Ba-Shu cultural sphere. Since the Western Jin Dynasty, the figurine assemblage of the Han Dynasty declined and disappeared down to the Southern Dynasties. Because of the immigration of the refugees from the six prefectures in present-day Gansu and Shaanxi, the local residents emigrated eastward to the middle reach of the Yangtze River, and brought the funeral custom of burying pottery figurines with the deceased to this area, where the pottery figurine assemblage of the Han Dynasty style in Sichuan was revived.
by
Suo Dehao
By posture and appearance, the pottery figurines of the Han and Jin Dynasties unearthed in Sichuan can be classified into 10 types: standing figurine with hands crossing before the chest, farming and hunting figurine, housework doing figurine, performing entertainer figurine, seated figurine (guests, tomb occupant, etc.), infant figurine, walking figurine (serving the master's traveling), warrior figurine, double figurine, deity and monster figurine, etc. By assemblage and characteristics, the pottery figurines of the Han and Jin Dynasties unearthed in Sichuan can be dated into four phases and eight stages, which are the mid Western Han Dynasty, the late Western Han through early Eastern Han Dynasty, the mid Eastern Han Dynasty to the early period of the reign of the Later Lord of the Shu Han Kingdom of the Three-Kingdoms Period, and the later period of the reign of the Later Lord of the Shu Han Kingdom through the Southern Dynasties. During the four phases, there have been three noticeable changes: the first occurred at the end of the Western Han Dynasty, the slender pottery figurines were changed into short puppet-shaped figurines. The second occurred in the mid Eastern Han Dynasty, which was the forming of the figurine assemblage with the local features of Sichuan. The third change took place in the Jin Dynasty, the categories of the figurines in the Eastern Han Dynasty mostly disappeared and the figurine assemblage with the features of the Jin Dynasty emerged. The evolution of the pottery figurines was influenced by the geographic environment, politics, economy, culture and migrations of Sichuan area. The origin of the pottery figurines of the Han Dynasty in Sichuan was pluralistic, which succeeded the traditions of the wooden figurines of the Chu State and local Shu State, and also absorbed the influences from Chang'an, Luoyang, Nanyang and other regions. In the mid through late Eastern Han Dynasty, when the figurine assemblage with local styles formed in Sichuan, this new assemblage spread to the surrounding areas centered by the Chengdu Plain, and the spreading range was mainly limited in the Ba-Shu cultural sphere. Since the Western Jin Dynasty, the figurine assemblage of the Han Dynasty declined and disappeared down to the Southern Dynasties. Because of the immigration of the refugees from the six prefectures in present-day Gansu and Shaanxi, the local residents emigrated eastward to the middle reach of the Yangtze River, and brought the funeral custom of burying pottery figurines with the deceased to this area, where the pottery figurine assemblage of the Han Dynasty style in Sichuan was revived.
THE EXCAVATION OF THE TOMB M1017 AT THE DAHEKOU CEMETERY OF THE WESTERN ZHOU DYNASTY IN YICHENG, SHANXI
The tomb M1017 is located in the southwest of the Dahekou Cemetery of the Western Zhou Dynasty in Yicheng County, Shanxi Province. It is accompanied by a chariot-and-horse pit in east-west orientation to its east. The grave of M1017 is a rectangular vertical earthen pit with the bottom smaller than the opening, the orientation of which is 280°. The grave is 5 m long and 3.4 m wide at the opening and 10.02 m deep, the fill of which has been rammed firm. The burial receptacles of this tomb consist of one wooden coffin chamber and one wooden coffin. The occupant (estimated to be a male) is interred with the head to the west, underneath whom is a waist pit. The grave goods unearthed from this tomb are made of bronze, gold, tin, pottery, shell, etc. Bronzes take the bulk of the grave goods, including ritual vessels, musical instruments, weapons, tool, chariot and horse fittings, and so on; the 50 bronze vessels are concentratedly set between the coffin chamber and coffin in front of the occupant's head. The bronze ritual vessels include 13 ding-tripods and fangding-quadripods, seven gui-tureens, one li-cauldron, four dou-stemmed bowls, two basins, one yu-basin, two spoons, seven jue-cups, two gu-goblets, three zun-wine vessels, three you-wine jars and zhi-cup, jia-wine vessel, lei-wine jar, vase, ladle, pan-basin and he-pitcher, one of each of them. Bronze musical instruments are three yong-bells. Bronze weapons are one knife and one arrowhead. Bronze chariot and horse fittings include six axle caps, four linchpins, one set of assembled axle cap and linchpin, four chariot bells, two chariot ornaments, two belt ornaments, one ring, five horse bells and two bubble-shaped ornaments. Bronze tool is a chisel. Other bronzes include a human figure holding a plate on head and an ornament. Gold ware is a handle-shaped object. The six tin wares unearthed from the grave have decayed into grains and powder and the original shape cannot be identified. Pottery ware is a li-cauldron. Shell objects are one shell piece and 11 spherical cap-shaped ornaments for lacquer wares. Many bronzes bear inscriptions of “bo伯 (earl)” or “Ba Bo霸伯 (Earl of the Ba State)”, hinting that the occupant of this tomb might be a lord of the Ba State. The date of this tomb is the early stage of the mid Western Zhou Dynasty.
by
Joint Archaeological Team of Shanxi Provincial Institute of Archaeology, Linfen Municipal Bureau of Cultural Relics, Yicheng County Bureau of Cultural Relics and Tourism and Research Center for Northern Chinese Archaeology of Shanxi University
The tomb M1017 is located in the southwest of the Dahekou Cemetery of the Western Zhou Dynasty in Yicheng County, Shanxi Province. It is accompanied by a chariot-and-horse pit in east-west orientation to its east. The grave of M1017 is a rectangular vertical earthen pit with the bottom smaller than the opening, the orientation of which is 280°. The grave is 5 m long and 3.4 m wide at the opening and 10.02 m deep, the fill of which has been rammed firm. The burial receptacles of this tomb consist of one wooden coffin chamber and one wooden coffin. The occupant (estimated to be a male) is interred with the head to the west, underneath whom is a waist pit. The grave goods unearthed from this tomb are made of bronze, gold, tin, pottery, shell, etc. Bronzes take the bulk of the grave goods, including ritual vessels, musical instruments, weapons, tool, chariot and horse fittings, and so on; the 50 bronze vessels are concentratedly set between the coffin chamber and coffin in front of the occupant's head. The bronze ritual vessels include 13 ding-tripods and fangding-quadripods, seven gui-tureens, one li-cauldron, four dou-stemmed bowls, two basins, one yu-basin, two spoons, seven jue-cups, two gu-goblets, three zun-wine vessels, three you-wine jars and zhi-cup, jia-wine vessel, lei-wine jar, vase, ladle, pan-basin and he-pitcher, one of each of them. Bronze musical instruments are three yong-bells. Bronze weapons are one knife and one arrowhead. Bronze chariot and horse fittings include six axle caps, four linchpins, one set of assembled axle cap and linchpin, four chariot bells, two chariot ornaments, two belt ornaments, one ring, five horse bells and two bubble-shaped ornaments. Bronze tool is a chisel. Other bronzes include a human figure holding a plate on head and an ornament. Gold ware is a handle-shaped object. The six tin wares unearthed from the grave have decayed into grains and powder and the original shape cannot be identified. Pottery ware is a li-cauldron. Shell objects are one shell piece and 11 spherical cap-shaped ornaments for lacquer wares. Many bronzes bear inscriptions of “bo伯 (earl)” or “Ba Bo霸伯 (Earl of the Ba State)”, hinting that the occupant of this tomb might be a lord of the Ba State. The date of this tomb is the early stage of the mid Western Zhou Dynasty.