专题介绍：殷墟玉器研究

编者按：
        近年来随着博物馆公共教育职能的强化，博物馆的工作重心有从“以物为中心”向“以人为中心”转变的趋势。然而，无论如何改变，博物馆离不开藏品。博物馆因藏品而生，没有藏品就没有博物馆。藏品是博物馆不可或缺的符号，是博物馆永恒的主题。本期专题收集了反映首都博物馆藏品研究最新成果的论文，以示本刊对博物馆藏品研究的重视。这些论文，或从工艺、风格、时代背景等方面揭示藏品内涵，发掘藏品背后的故事，或引入新材料，或采用科技手段，或为馆外知名学者采取综合研究法的力作，或彰显藏品当代意义，在博物馆藏品研究领域具有一定的代表性。

元大都西太乙宫考——北京西城区后英房和后桃园元代遗址出土文物研究
林梅村
On the Western Taiyi Palace of Khanbaliq: Research on the Relics of the Houyingfang and Houtaoyuan in the Xicheng District, Beijing
Lin Meicun

内容提要： 1972年，北京西直门内后英房胡同明北城墙下发现元代建筑遗存。后英房遗址采用皇家寺观特有的工字型建筑，并出有北宋书法家米芾的琅琊紫金砚。该遗址正是元末熊梦祥《析津志》所载西太乙宫遗址，由元初昭瑞宫扩建而成。不过，据揭傒斯《砚山诗序》西太乙宫提点张秋泉并非熊梦祥所言南宋江湖派诗人戴复古之后，而是南宋末平江（今苏州）知府戴觉民之子。西太乙宫四任提点分别为玄教第二代宗师吴全节、南宋戴觉民后人张秋泉、武冈（今湖南武冈）延寿宫道士饶礼诚，以及蒙古族道士张彦辅。宫廷画师商琦曾为西太乙宫正殿绘制山水壁画，并有翰林院大学士揭傒斯题诗。距后英房遗址125米的后桃园遗址出土元代壁画残片，当即商琦所绘西太乙宫山水壁画。后英房遗址出土《广寒宫图》螺钿黑漆盘残片产自浙江南部，当即张秋泉从家乡带到京城的手工艺品。
关键词： 商琦绘山水壁画    西太乙宫    昭瑞宫    张秋泉    后英房遗址    元大都考古
Abstract: In 1972, the architectural remains of Khanbaliq are excavated beneath the north wall of the Ming city at the Houyingfang site northeast of Xizhimen in Beijing. The Houyingfang site are featured by the H-shaped plan of the royal architecture. An unearthed inkstone from this site is identifed to the treasures of Mi Fu, a calligrapher of Northern Song Dynasty. Our research suggests that the architectural remains belong to the royal Taoist temple known as Western Taiyi Palace, which is recorded in the geography section (Xi Jin Zhi) compiled by Xiong Mengxiang of the late Yuan Dynasty. This temple was an expansion based on the Zhaorui Palace in the early Yuan. However, Xiong’s description to Zhang Qiuquan, the procurator of Western Taiyi Palace, was wrong. He actually is the son of Dai Juemin, the governor of Suzhou at the end of South Song Dynasty, rather than the son of Dai Fugu, an itinerant poet of Southern Song Dynasty. There were four procurators of Western Taiyi Palace: Wu Quanjie (the second grandmaster of Mystery School of Taoism), Zhang Qiuquan (posterity of Dai Juemin), Rao Licheng (the Taoist priest of Yanshou Palace at Wugang of Hunan), and Zhang Yanfu (a Mongolian Taoist priest). The landscape mural in the hall of Western Taiyi Palace was painted by Shang Qi, an imperial painter, and was with an epilogue poem by Jie Xisi, a member of Imperial Academy. This can be demonstrated by the Yuan mural fragments unearthed from the Houtaoyuan site, 125 meters away from the Houyingfang site. The unearthed fragments of the lacquer painting with mother-of-pearl inlay, The Guanghan Palace, were a craft manufactured in South Zhejiang. It therefore can be suggested that it was brought by Zhang Qiuquan from his hometown to Khanbaliq.
Key Words: Archaeology of Khanbaliq; Houyingfang Site; Zhang Qiuquan; Zhaorui Palace; Western Taiyi Palace; Landscape Mural by Shang Qi

试论刘家河商墓出土金臂钏
Research on the Gold Armlets Unearthed from the Shang Dynasty Tombs of Liujiahe in Beijing
王显国
Wang Xianguo
（首都博物馆，北京，100045）
( Capital Museum, Beijing, 100045 )

内容提要： 北京刘家河商代墓葬出土金臂钏年代早、器型大，是研究商代北方地区黄金制品工艺及形制发展的重要实物资料。本文利用科技检测及文献解读的方法，探讨了金臂钏制作工艺、形制演变及传播等问题。研究表明，两件金臂钏材质不同，但均为自然金；采用熔铸、锤揲、打磨等工艺制作而成。从时空方面考察，刘家河金臂钏承接了夏家店下层文化因素，并对燕山南麓向东和燕山北麓及辽西丘陵地区产生了影响。
关键词：金臂钏 商代 刘家河
Abstract: The gold armlets unearthed from the Shang Dynasty Tombs of Liujiahe in Beijing are important material to study the development of technology and form of the gold articles in the northern region of Shang Dynasty. This paper, using the method of science and technology and interpreting of literature, discusses the manufacturing technology, form evolution and dissemination of golden armlets. Research shows that two gold armlets are made of natural gold, and are made by casting, hammering and polishing and so on. From the perspective of time and space, the gold armlets of the Liujiahe took on the cultural factors of the Lower Xiajiadian Culture, influenced the southern foothills of Yanshan to the east and the northern foothills of Yanshan and the hilly areas of western Liaoning.
Key Words: Liujiahe; the Shang Dynasty; gold armlet

元青花凤首扁壶探析
On Blue-and-white Phoenix-head Flat Flasks of the Yuan Dynasty
裴亚静
Pei Yajing
（首都博物馆，北京，100045）
( Capital Museum, Beijing, 100045 )

内容提要： 元青花凤首扁壶于20世纪70年代出土于北京旧鼓楼大街豁口瓷器窖藏，窖藏中同时出土了九件元青花瓷器。青花凤首扁壶整体为一凤形，其特殊的形制使其在元代青花瓷器中熠熠夺目。新疆的伊犁也曾出土一件元青花凤首扁壶，据《营造法式》图样确认，这两件青花凤首扁壶凤纹分别为鸾、凤。鸾凤纹作为装饰纹样在宋代艺术品中已出现，元代更为普遍，出现于元青花瓷器、丝织品、石刻等高端装饰艺术中，同时也见有凤首装饰的梅瓶及其他壶式。目前所见两件元青花凤首扁壶，一件发现于元大都遗址，另一件则出土于新疆的阿力麻里古城，是元代丝绸之路的见证。
关键词：丝绸之路 阿力麻里 鸾凤 《营造法式》 凤首扁壶 元青花
Abstract: The blue-and-white phoenix-head ?at ?ask of Capital Museum excavated from a cellar of the Yuan Dynasty at the opening of the Old Gulou Street in Beijing in the 1970s. The overall shape of the blue-and-white ?at ?ask is a phoenix shape, which makes it dazzling in the blue-and-white porcelain of the Yuan Dynasty. There is another blue-and-white phoenix-head ?at ?ask unearthed in Almaliq, a medieval city, of Xinjiang. Referred to Yingzao Fashi (Treatise on Architectural Methods or State Building Standards), the patterns of these two blue-andwhite ?asks are a luan (a female phoenix) and a feng (a male phoenix) respectively. As a decorative pattern, the pattern has appeared in the works of the Song Dynasty. It popularly appears in the high-end decorative arts such as blue-and-white porcelain, silk and stone carving in the Yuan Dynasty. And there are also the meiping with phoenixhead decoration. The two pieces of ?at ?ask are witnesses of the Silk Road of the Yuan Dynasty.
Key Words: Blue-and-white porcelain of the Yuan Dynasty; phoenix-head ?at ?ask; Yingzao Fashi; luanfeng (male phoenix and female phoenix); Almaliq; Silk Road

首都博物馆藏西藏丹萨替风格铜镀金广目天王像研究
Study of the Dansathil Style Statue of Virūpāksa of Capital Museum
黄春和
Huang Chunhe
（首都博物馆，北京，100045）
( Capital Museum, Beijing, 100045 )

内容提要： 丹萨替造像是出自西藏山南桑日县丹萨替寺的一种佛教造像，不仅展现了西藏佛像艺术发展的巨大成就，而且见证了一个家族（朗氏家族）、一个教派（帕竹噶举派）和一个王朝（帕竹王朝）的兴盛面貌，成为人们了解西藏那段辉煌历史最为可靠的实物依据，也成为我们触摸那段辉煌历史的真实存在。本文通过对首都博物馆收藏的一尊广目天王像的深入研究，探讨其艺术特征及历史文化背景，考证其为一件典型的丹萨替造像作品，对研究和了解西藏丹萨替风格造像具有重要意义。
关键词：帕木竹巴•朗氏家族    广目天王    丹萨替寺    佛教造像
Abstract: The Dansathil style buddhist statues are from the Dansathil Monastery in Sangri County, Tibet, which not only show the great achievements of Tibetan Buddhist art, but also witness the prosperity of a family (Lang or Rlangs family), a sect (Phagmo Drupa Kagyu) and a dynasty (Phagmodrupa Dynasty). These statues became the most reliable material evidence for the glorious history of Tibet. Through the in-depth study of the statue of Virūpāksa of Capital Museum, this paper explores its artistic characteristics and historical and cultural background, and proves that it is a typical Dansathil style statue. It is important for studying and understanding Tibetan Dansathil style statues.
Key Words: Buddhist statues; Dansathil Monastery; Virūpāksa; Phagmo Drupa of Lang family

从楷书《燕然山铭》卷看董其昌的书法实践
Research on the Handscroll of Dong Qichang’s Regular Script of Yan Ran Shan Stele’s Inscription
李文琪
Li Wenqi
（首都博物馆，北京，100045）
( Capital Museum, Beijing, 100045 )

内容提要：明董其昌楷书《燕然山铭》卷，曾被收入《石渠宝笈》，现收藏于首都博物馆。此卷虽以楷书书写，但体势略显倾斜，充满行书韵味，字形较大，并非常见的董其昌作品面貌。它是董其昌临习米芾小楷书《燕然山铭》并实践“小字放大”这一理论的作品，从中可以看出董其昌的书法渊源及书学造诣，它代表了董其昌众多书法面貌中的一种，具有较高的书法艺术价值。
关键词：“小字放大”理论 楷书《燕然山铭》 董其昌
Abstract: The handscroll of Dong Qichang’s regular script of Yan Ran Shan Stele’s Inscription, which wasincluded by Shih-ch’u Pao-chi, collected by Capital Museum now. Written in regular script, however, this scroll has incline in the posture of the character and the lengthened structure of many characters which endued itself a running script arome. It is not a common feature of Dong Qichang’s works. It is the work studied and imitated the small regular script of Yan Ran Shan Stele’s Inscription (written by Mi Fu), and a practice of the theory that “magnify the small Chinese character”. It represents one of many appearance of Dong Qichang’s calligraphy, from which we can discover the filiation and accomplishment of the artist’s calligraphy. The scroll has an important artistic value.
Key Words: Dong Qichang; regular script of Yan Ran Shan Stele’s Inscription; the theory that “magnify the small Chinese character”

清代青花御窑厂图圆瓷板刍议
Study of the Porcelain Tabletop with the Drawing of the Imperial Kiln Factory of the Qing Dynasty
邢鹏
Xing Peng
（首都博物馆，北京，100045）
( Capital Museum, Beijing, 100045 )

内容提要： 首都博物馆藏清代青花御窑厂图圆瓷板是清代御窑厂的真实写照，是研究清代御窑厂的重要实物资料。本文结合明清官衙建筑群的建筑规制，对瓷板画面所绘的清代御窑厂建筑群性质进行考证，可知瓷板画面所绘的建筑群规制符合明清时期官式建筑群的基本样式。而画面中出现的民居与商业街巷，和御窑厂官式建筑群格格不入，反映其应是太平军烧毁御窑厂之后的建筑，表明这件瓷板的绘制年代不早于此。本文还根据新发现的材料考证出御窑厂内部分建筑物的名称，为窑厂图圆瓷板的进一步研究提供参鉴。
关键词：绘制时间 官式建筑群 御窑厂
Abstract: The porcelain tabletop with the drawing of the imperial kiln factory of the Qing Dynasty of Capital Museum is a true portrayal of the Qing Dynasty imperial kiln factory and reliable research material.Based on the offcial building standard of the Ming and Qing Dynasties, this paper examines the nature of the imperial kiln complexes of the Qing Dynasty and demonstrates that the building complexes of the tabletop conform to the basic style of the offcial buildings in the Ming and Qing Dynasties. The residential houses and commercial streets of the tabletop which were incompatible with the buildings of the imperial kiln factory, re?ects that they should be built after the Taiping Rebellion burned the imperial kiln and that the time of the drawing of the tabletop was late. This paper also examines the names of some buildings in the imperial kiln factory based on newly discovered materials.
Key Words: Imperial kiln factory; offcial buildings; time of the drawing