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題名 | 玉丁寧館捐贈牙骨器研究--漢代以前=A Study on Ivory and Bone Objects Donated from the Yu-ting-ning Studio: The Han and Pre-Han Period |
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作者 | 嵇若昕; Chi, Jo-hsin; |
期刊 | 故宮學術季刊 |
出版日期 | 19990600 |
卷期 | 16:4 民88.夏 |
頁次 | 頁1-48+左1-2 |
分類號 | 793.6 |
語文 | chi |
關鍵詞 | 牙骨雕刻品; 象牙; 針刻; 核篦; Bone and ivory carving; Elephant ivory; Fine engraving; Hair comb; |
中文摘要 | 國立故宮博物院收藏不少名寶上珍,其中亦不乏牙骨雕刻品,但是多為有清一代遺物,獨缺上古骨器。一九九七年「玉丁寧館」將多年購藏牙骨竹木雕器,擇其精尤,縱貫五六千年不替,上自新石器時代晚期的雕骨嵌石大刀,下迄清末民國的象牙竹木雕刻品,共計二三七組件(二九六單件)捐補院藏。今僅選摭所捐漢代與漢代以前牙骨器中具代表性者,依據出土、傳世或流散文物,以及其他相關資料,排比、分析,以略窺先民至漢代為止在牙骨雕刻工藝上的發展史序與特殊成就。遠在數萬年前的舊石器時代,先民已知利用漁獵所得的獸骨、牙材,磋製成簡單的生產工具或裝飾品。降及新石器時代,牙骨製品進而成為當時工藝美術的一環,或為椎,或製刃,或作飾物。商代以銅器藝術為重心,但是在牙骨雕刻方面仍有長足的進展,不但表現牙骨質材的本色,也常在牙骨雕刻品上鑲嵌綠松石等寶石為飾;西周延續商代風格,牙骨器的雕刻與鑲嵌工藝並存;春秋戰國時期,加入了彩繪、嵌金絲與烙印等工藝,更增加當時牙骨器的華麗。漢代漆器工藝中的針刻藝術,深受世人推崇,此時牙骨器上的針刻技藝,與之並行不悖;除了針刻,尚常在陰線刻痕內填入各色彩料,踵事增華。文末並藉玉丁寧館捐贈的十件牙骨梳篦或梳柄,略窺我國梳篦形式的發展史。 |
英文摘要 | The National Palace Museum in Taipei is home to a wealth of precious works of Chinese art. Objects carved from ivory and bone are certainly not lacking, but they mostly date from the Ch'ing dynasty (1644-1911). None, in fact, are from China's antiquity. In 1997, a selection of the finest carvings in ivory, bone, and bamboo, and wood (spanning 5-6,000 years of chiese history) were donated from the Yu-ting-ning Studio to the Museum by Director Ch'in Hsiao-yi (who had amassed them over the years). The works total 237 sets (296 individual items) that range in date from a late Neolithic stone-inlaid bone knife to elephant ivory and bamboo carvings of the late Ch'ing and Republican period. the present study involves a selection of representative ivory and bone objects from the Han and pre-Han period. Through comparison with other objects in collections and archaeologically excavated materials as well as taking into consideration the current state of research, a study and analysis of these objects offers a glimpse into the achievements and historical development in he art of ivory and bone carving from prehistoric times to the Han dynasty in China. Thousands of years ago in the Paleolithic age, early man already was able to fashion simple toos for everyday use and decoration from the bones and ivory of the animals they hunted or caught. By the Neolithic age, the craft of ivory and bone carving had already come full circle as these materials were used to make a variety of tools, such as awls and knives, and ornaments. In the Shang dynasty, artistic focus turned to bronze casting, but the art of ivory and bone carving continue to acvance. Craftsmen not only exploited the basic features of these materials, but they were also inlaid and decorated with other materials, such as turquoise. The Western Chou followed Shang styles, and bone and ivory carving co-existed with the art of inlay. In the Eastern Chou, the art of painting rose, adding another dimension of decoration to bone and ivory works. In the Han dynasty, the art of engraved lacquerware became popular and the ivory and bone objects of this period were also decorated using this technique of fine engraving. In addition, the lines were often filled with pigments to add an opulent beauty to the objects. The end of the present paper concludes with a glimpse at the development of combs as seen in ten hair combs and comb handles among the objects donated from the Yu-ning-ting Studio. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。