看見(jiàn)良渚玉，看見(jiàn)千年

玉琮王

良渚古城，是良渚王國(guó)權(quán)力與信仰的中心，而玉器作為權(quán)力與信仰的載體，在良渚王國(guó)中占據(jù)極其特殊的地位。

玉文化與治玉精神傳承至今。而玉象征的含義，也為良渚新時(shí)代的文化發(fā)展注入新的內(nèi)涵。

良渚好玉

良渚古城遺址的出土器物包括玉器、陶器、石器、漆器、竹木器、骨角器等，總量達(dá)1萬(wàn)余件。其中，玉器主要作為隨葬品出土于分等級(jí)墓地，總數(shù)不少于7000件，材質(zhì)以透閃石為主，器型包括玉琮、玉鉞、玉璧、三叉形器、冠狀飾、錐形器、玉璜、半圓形飾、柱形器、玉鐲、玉織具、玉紡輪等，以及圓雕的鳥、龜、魚、蟬等動(dòng)物形玉器。

“鳥立高臺(tái)紋玉璧”。

7月16日，一個(gè)集全國(guó)各地良渚玉器之大成的展覽在北京故宮博物院舉行， 將持續(xù)至10月20日。這個(gè)名為“良渚與古代中國(guó)——玉器顯示的五千年文明”的特展，是良渚文化展覽史上，以玉器為主的良渚文化的集大成展，也是目前良渚玉器規(guī)模最大的展覽。

展覽調(diào)動(dòng)了反山12號(hào)墓出土的國(guó)王用玉以及瑤山11號(hào)墓出土的王后用玉，總共119件玉器，包括玉琮王、玉鉞王、良渚文化刻鳥立高臺(tái)符玉璧等。

像這樣成組成單元地展出良渚社會(huì)中最高統(tǒng)治者的玉器，在良渚文化展覽史上還是第一次——

琮，首創(chuàng)于良渚文化，為高等級(jí)貴族所有，是溝通天地人神的重要禮器。玉琮內(nèi)圓外方，中部貫穿，四角施刻神人獸面像，蘊(yùn)含著良渚先民的宇宙觀念和精神信仰。

出土于反山12號(hào)墓的玉琮，是國(guó)王用玉。它是迄今雕琢最精美、品質(zhì)最佳、體量最大的玉琮，被譽(yù)為“玉琮王”。

玉鉞是從斧演變而來(lái)的一種器形，裝上握杖，相當(dāng)于權(quán)杖，是良渚文明中軍權(quán)的象征。“玉鉞王”同樣出土于反山12號(hào)墓，是目前唯一雕琢有神徽和鳥紋的玉鉞。

璧是一種中央穿孔的扁平狀圓形玉器，體現(xiàn)了貴族對(duì)財(cái)富的占有。在出土的眾多良渚玉璧中，絕大多數(shù)為素面無(wú)紋，極少數(shù)刻有紋飾或符號(hào)。鳥立高臺(tái)紋玉璧正面雕有精細(xì)的“鳥立高臺(tái)”紋飾，制作精良，是良渚玉器中罕見(jiàn)的珍品。

反山12號(hào)墓出土，遍布鑲嵌的小玉粒，腹部一周有140多顆，長(zhǎng)度居然能小到1-2毫米，說(shuō)明當(dāng)時(shí)玉材的珍貴，良渚人能充分利用邊角玉料。

這是在良渚瑤山遺址7號(hào)墓墓主人頭部發(fā)現(xiàn)的一件三叉形器。出土?xí)r上方有一件長(zhǎng)玉管，推測(cè)良渚人使用時(shí)是把玉管插在三叉形器上佩戴的。良渚人把雕刻有神像的三叉形器戴在頭上，成為神的扮演者。

玉鳥是一種玉綴件，背面有縫綴孔，出土量很少，一些還雕琢神像的眼睛，是人神溝通中重要的精靈。這件出土于反山遺址的玉鳥，長(zhǎng)4.36厘米、兩翼寬5.33厘米、厚0.93厘米，一般與玉管、玉珠等組成組佩件，作為項(xiàng)飾、手腕飾品或腳飾等佩戴。

玉的文化

三叉形器。

良渚先民擁有高超的制玉技藝，打樣、鉆孔、切割、浮雕、陰刻，樣樣精細(xì)，鬼斧神工。比如1毫米的寬度內(nèi)竟可以刻劃5根線，而且互不重疊，堪稱微雕。

玉器上所刻的神像，體現(xiàn)了良渚人統(tǒng)一的精神信仰。完整的神人獸面像出現(xiàn)在很多高等級(jí)玉禮器上。上部是頭戴“介”字形羽冠的神人形象，下部是瞪著滾圓大眼、露出獠牙的猛獸面目。神人加神獸的復(fù)合形象，或許就是良渚部族崇拜的“神徽”。

良渚社會(huì)還將玉器用來(lái)標(biāo)識(shí)身份、等級(jí)和地位。比如代表神權(quán)的玉琮，象征軍事指揮權(quán)的玉鉞，體現(xiàn)財(cái)富的玉璧等等。貴族與平民的隨葬玉器，無(wú)論是數(shù)量還是質(zhì)量，都相差懸殊。

最直觀的，當(dāng)屬反山王陵。第12號(hào)墓中有大量玉石做成的琮、璧、鉞、冠狀器，成組的環(huán)鐲、管珠、端飾……密密匝匝，堆出了一座“珠光寶氣”的地下世界。墓主人生前，可能就是一位良渚王。

這樣一種嚴(yán)格規(guī)范的用玉制度，見(jiàn)證了良渚社會(huì)的階層分化。良渚的王、王室成員、貴族，通過(guò)玉禮器系統(tǒng)，達(dá)到對(duì)神權(quán)的控制，對(duì)王權(quán)、軍權(quán)和財(cái)權(quán)的壟斷，以此體現(xiàn)王權(quán)神授的統(tǒng)治理念。

統(tǒng)一精神信仰，區(qū)分社會(huì)階層，維系地域管轄，玉是良渚文明模式的重要特征。日本學(xué)者中村慎一先生比較了各地出土的玉器，尤其是作為權(quán)力象征的玉琮后認(rèn)為，它們絕大多數(shù)是由居住在良渚古城的玉工們制作，由良渚的貴族集團(tuán)派送、饋贈(zèng)給各地方的。

也就是說(shuō)，良渚王控制政權(quán)中樞系統(tǒng)，直接控制了高檔奢侈品玉器的生產(chǎn)和使用。把玉器賜給誰(shuí)，等同于賜予了權(quán)力。用這樣的形式承認(rèn)或分派給各地貴族的地方區(qū)域治權(quán)，換取后者對(duì)“中央”的認(rèn)同和支持，從而達(dá)到對(duì)各地方實(shí)行某種程度的轄制、控制。

嵌玉漆杯（復(fù)原）。

不僅如此，良渚玉器也為后世所承襲，縱貫整個(gè)中國(guó)古代社會(huì)。英國(guó)考古學(xué)家杰西卡·羅森教授說(shuō)，“良渚文明逐漸消亡，先民搬遷的同時(shí)，將玉器帶到了中國(guó)的其他地區(qū)，這是良渚給全中國(guó)帶去的最珍貴的禮物?！?/p>

Liangzhu Jade Exhibition at Palace Museum in Beijing

Liangzhu and Ancient China： 5，000-Year Civilization in Jade Artifacts ， an exhibition， started on July 16 at the Palace Museum in Beijing and will last till October. It is the first time that so many Liangzhu jade artifacts on display at one place.

玉鉞王。

The 255 jade pieces on display， loaned from 15 museums in nine provinces and cities across the country， are all related to the Liangzhu Culture， some unearthed in ancient Liangzhu， some unearthed somewhere else in China.

The exhibition creates a comprehensive picture of Chinas earliest ritual society based on ritualized jade artifacts. It is the biggest exhibition of jade artifacts from Liangzhu in the history of China.

The 119 jade pieces from Liangzhu highlight the majesty and elegance of the king and the queen of Liangzhu， who were respectively buried in Tomb 12 at Fanshan Site and in Tomb 11 at Yaoshan Site. The 119 pieces were all unearthed from these two tombs. Never before were these particular jade pieces exhibited together at one exhibition.

The ancient Liangzhu City was a center of power and faith. Jade artifacts， vessels that carried the power and faith， played a central role in the state. The culture and spirit as reflected in these jade objects are very much alive today in China. The symbolism carried in these jade objects is injecting something new into cultural development of today.

The unearthed grave goods number more than 10，000 pieces. Over 7，000 of them are jade pieces unearthed from high-graded cemeteries. These jade objects can be classified into distinct categories such as Cong， Yue， Bi， Huang， three-pronged objects， cockscomb-shaped objects， awl-shaped objects， semi-circular pendants， cylindrical pieces， bracelets， textile tools， and small objects in the shape of birds， turtles， fish and cicadas.

King of Jade Cong

玉鳥。

Cong originated in the Liangzhu Culture. The same Cong pieces were also made in subsequent Shang and Zhou dynasties. It was a ritual object owned and used by top-class nobles for communicating with deities and nature. The Cong has a square outer section and a circular hole in the center. The four corners are ornamented with a sacred human and animal face motif. This particular Cong represents the worldview and faith of the Liangzhu people in prehistoric times. The jade Cong on display at the exhibition， excavated from Tomb 12 at the Fanshan Site， is a piece owned and used by the supreme leader of Liangzhu. It is by far the biggest and heaviest and best decorated Cong， hence the King of Jade Cong.

King of Jade Yue

Yue is a ritual object that evolved from axe. Equipped with a handle， it becomes a scepter， a symbol of military power in the Liangzhu Civilization. The King of Jade Yue was excavated from Tomb 12 at the Fanshan Site. The Yue is the only one of its kind decorated with a sacred human and animal face motif and a bird motif.

Jade Bi with a Bird on Altar Motif

Bi is a flat circular disk with a circular hole in the center， underscoring wealth in the possession of nobles. Most Bi unearthed in Liangzhu are without any decorations. Only a very small number of them are adorned with a delicately carved bird on altar motif. This Bi is an extremely rare specimen of jade artifacts of the Liangzhu Culture.

Lacquer Kettle decorated with Inlaid Jade

Excavated from Tomb 12 at the Fanshan Site， the kettle is paneled with tiny jade grains all over. Around the middle of the kettle is decorated with over 140 jade grains. These grains are as tiny as one or two millimeters in size， showing how artisans knew to recycle jade leftovers and scraps and make the biggest use of precious jade material.

Three-Pronged Jade Object

Disinterred from Tomb 7 at the Yaoshan Site， this jade artifact was placed by the head of the dead buried there. A long jade tube was found on this three-pronged jade piece. It is conjectured that the jade tube was connected with the three-pronged piece to form a unified headgear and that the wearer personated a deity.

Jade Bird

The jade bird is an ornamental jewelry composed of jade pieces stringed-together through slender strings as tiny holes are found on the backside of the bird. Some jade birds are adorned with engraved eyes of deity. This jade bird was unearthed from the Fanshan Site. It goes with a jade tube and jade beads to form a piece of jewelry for the neck or the wrist.

Jade Culture

Artisans of the Liangzhu Culture undoubtedly possessed amazingly high techniques to process jade material and manufacture jade artifacts in different shapes and ornaments. They could five lines within a width of one millimeter and the five lines dont touch each other in such a narrow space.

The image of deity carved on jade objects represents a unified faith of the Liangzhu people. Some top-graded ritual jade objects are decorated with complete images of a sacred human and animal face motif. The motif was probably the insignia worshipped by the Liangzhu people. Jade objects identified who one was and what one was in the society. For example， jade Cong represents power of faith. Jade Yue axe symbolizes military power. Jade Bi stands for material wealth. Jade artifacts exhumed from tombs of nobles and tombs of commoners show a sharp difference in both quantity and quality.

The royal cemetery at the Fanshan Site is a perfect example of the ritualized jade system. Unearthed from Tomb 12 is a large quantity of jade objects. The glittering jades suggest that the person buried there could have been a supreme ruler of Liangzhu.

“鳥立高臺(tái)紋玉璧”細(xì)節(jié)圖。

This strictly ritualized jade system suggests social differentiation and hierarchy. It is through this strictly ritualized jade system that the top class of Liangzhu ruled the state and enjoyed the absolute say on religion， state power， military power and finance.

The production and use and distribution of jade artifacts were in the direct control of the supreme ruler of Liangzhu. Regional leaders received jade objects from the supreme ruler and gained recognition and power. In exchange， they supported the state government situated in the city and accepted the administrative orders from the state ruler.

Moreover， the jade artifacts of Liangzhu were inherited by other regional cultures and subsequent dynasties through the whole ancient history of China. As Liangzhu Civilization declined and dissipated， people moved to other parts of China and jade artifacts spread. Jade artifacts are the most precious gift from Liangzhu to the whole country.