钱山漾文化研究

发布时间：2018-05-28 05:08

本文选题：钱山漾文化 + 环太湖地区　；参考：《吉林大学》2016年硕士论文

【摘要】：龙山时代晚期,环太湖地区的良渚文化逐渐走向消亡,随之而起的是该地区一种新的考古学文化——钱山漾文化。该文化继承良渚文化,同时又吸收来其自北方龙山时代诸文化因素,与其周边的好川文化、石家河文化、牛鼻山类型等互相交流与沟通,从而开启了环太湖地区考古学文化发展的新格局。本文对钱山漾文化及其相关材料进行了重新梳理,就钱山漾文化的分期、年代、渊源、流向及其周边关系进行了探讨与分析,阐述了钱山漾文化的形成演变过程。并在此基础之上,将钱山漾文化置于它所在的新石器时代晚期的历史背景之中,研究环太湖地区新石器时代考古学文化发展的新特点。本文分为五个部分。第一部分:绪论首先,概述本文写作缘由,即钱山漾文化作为研究环太湖地区良渚文化之后考古学文化面貌的关键一环,由于各种原因,其研究尚未成系统。故本文从已有资料和研究入手,对钱山漾文化进行从点到线,由线成面的研究。其次,对钱山漾文化的时空范围及研究历程做一系统梳理和分析,其中张忠培先生将钱山漾第一段遗存命名为钱山漾文化1这一观点的提出对钱山漾文化的研究有着阶段性意义。最后,指出钱山漾文化研究的重要意义,它的出现标志着环太湖流域史前考古新征程的到来。第二部分:钱山漾文化的分期与年代首先,通过分析钱山漾遗址、广富林遗址,将钱山漾文化分为早晚两期,并概括出钱山漾文化各期中典型陶器的演变特征。此外,对钱山漾文化的绝对年代和相对年代进行分析第三部分:钱山漾文化的渊源与流向关于钱山漾文化的渊源,本文主要就钱山漾文化早期典型陶器与良渚文化晚期典型陶器进行对比研究,从而认为钱山漾文化在主体上继承了良渚文化。关于钱山漾文化的流向问题,本文从广富林文化与钱山漾文化的关系入手,对两文化的文化面貌进行全面分析,进而探讨钱山漾文化的流向问题。本文认为广富林文化部分继承了钱山漾文化,但其主要来源是北方的王油坊文化,而钱山漾文化的流向就目前的材料来说,尚不明晰。第四部分:钱山漾文化与周边文化的关系本文讨论了钱山漾文化与石家河文化、好川文化、北方龙山时代相关考古学文化、牛鼻山类型等的关系,通过对比钱山漾文化与以上文化的器物形态、器物组合、器物特征等,认为钱山漾文化在发展过程中受到周边文化的影响,或是一定程度的影响了周边文化,显示出文化交流的重要意义。第五部分:钱山漾文化形成与演变的动态考察通过对钱山漾文化自身发展、渊源、流向以及其与周边文化关系的探讨,对钱山漾文化的形成与发展的演变过程做一综合研究,从而指出新石器时代晚期环太湖流域考古学文化发展的新特点。
[Abstract]:In the late Longshan period, the Liangzhu culture around Taihu Lake gradually died out, and a new archaeological culture-Qianshanyang culture emerged. This culture inherits the Liangzhu culture, and at the same time absorbs the cultural factors from the northern Longshan period, and exchanges and communicates with the surrounding culture of Haochuan, Shijiahe, Niubeishan, etc. Thus opened a new pattern of archeological culture development around Taihu Lake area. In this paper, the Qianshanyang culture and its related materials are rearranged, the stage, age, origin, direction of Qianshanyang culture and its surrounding relations are discussed and analyzed, and the formation and evolution process of Qianshanyang culture is expounded. On this basis, Qianshanyang culture is placed in the historical background of the late Neolithic period, and the new characteristics of the Neolithic archaeological culture development in the Taihu Lake area are studied. This paper is divided into five parts. The first part: introduction: first of all, it summarizes the reasons for writing this paper, that is, Qianshanyang culture, as a key link in the study of archaeological culture after Liangzhu culture around Taihu Lake, has not been systematically studied due to various reasons. Therefore, this paper starts with the existing materials and studies the Qianshanyang culture from point to line and from line to plane. Secondly, the space-time scope and research process of Qianshanyang culture are systematically combed and analyzed. The idea that Mr. Zhang Zhongpei named the first section of Qianshan Yang as "Qianshan Yang1" is of stage significance to the study of Qianshanyang culture. Finally, it points out the important significance of the study of Qianshanyang culture, and its appearance marks the arrival of a new archaeological journey around Taihu Lake basin. The second part: the period and age of Qianshanyang culture. First of all, through analyzing Qianshanyang site and Guangfulin site, Qianshanyang culture is divided into two periods in the morning and evening, and the evolution characteristics of typical pottery in each period of Qianshanyang culture are summarized. In addition, the author analyzes the absolute and relative ages of Qianshanyang culture. The third part: the origin of Qianshangyang culture and the origin of Qianshanyang culture. In this paper, the early typical pottery of Qianshanyang culture and the typical pottery of the late Liangzhu culture are compared, and it is concluded that the Qianshangyang culture inherits the Liangzhu culture on the subject. With regard to the flow of Qianshanyang culture, this paper starts with the relationship between Guanshanyang culture and Guanshanyang culture, and analyzes the cultural features of the two cultures in an all-round way, and then probes into the problem of the direction of Qianshanyang culture. This paper holds that the culture of Guang Fulin inherits the culture of Qianshanyang, but its main source is the culture of Wang Youfang in the north, and the direction of the culture of Qianshanyang is not clear as far as the current material is concerned. The fourth part: the relationship between Qianshanyi culture and surrounding culture. This paper discusses the relationship between Qianshangyang culture and Shijiahe culture, Haochuan culture, the archaeological culture of the northern Longshan period, the type of Niubeishan, etc. By comparing Qianshanyang culture with the above culture, such as the shape of objects, the combination of objects, the characteristics of objects, etc., it is considered that Qianshangyang culture was influenced by the surrounding culture in the process of development, or to some extent affected the surrounding culture. It shows the importance of cultural communication. The fifth part: the dynamic investigation of the formation and evolution of Qianshanyang culture. Through the discussion of its own development, origin, direction and relationship with the surrounding culture, the paper makes a comprehensive study on the formation and development of Qianshanyang culture. The new characteristics of archaeological culture development around Taihu Lake basin in the late Neolithic period are pointed out.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：K876.3

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