新石(shi)器時(shi)代良渚文(wen)化(hua)(hua)玉琮(cong),良渚文(wen)化(hua)(hua)玉琮(cong)之首。中國首批禁止出(chu)國(境)展覽文(wen)物,收藏于浙(zhe)江省(sheng)博物館。
此玉琮(cong)通高8.9厘米、上(shang)射(she)徑17.1—17.6厘米、下射(she)徑16.5—17.5厘米、孔外徑5厘米、孔內徑3.8厘米。是已(yi)發現的(de)良渚玉琮(cong)中最(zui)大(da)、最(zui)重、做工最(zui)精美的(de)一件,被譽為“琮(cong)王”。
形(xing)體寬闊(kuo)碩大(da),紋(wen)飾獨(du)特(te)繁(fan)縟,為(wei)(wei)良渚文化玉琮之首(shou)。琮體四(si)(si)面(mian)(mian)(mian)各琢(zhuo)(zhuo)刻(ke)(ke)一完整(zheng)的(de)獸(shou)(shou)面(mian)(mian)(mian)神(shen)人圖像。獸(shou)(shou)面(mian)(mian)(mian)的(de)兩側(ce)各淺(qian)浮(fu)雕鳥(niao)紋(wen)。器形(xing)呈扁(bian)矮的(de)方柱體,內圓外(wai)方,上下(xia)(xia)端(duan)為(wei)(wei)圓面(mian)(mian)(mian)的(de)射(she),中(zhong)有(you)(you)對鉆圓孔,留有(you)(you)臺痕。下(xia)(xia)端(duan)有(you)(you)取料時形(xing)成(cheng)的(de)凹缺。琮體四(si)(si)面(mian)(mian)(mian)由中(zhong)間的(de)直(zhi)槽(cao)(cao)一分(fen)(fen)為(wei)(wei)二,又由橫槽(cao)(cao)分(fen)(fen)為(wei)(wei)兩節(jie),每(mei)節(jie)再分(fen)(fen)上下(xia)(xia)兩個(ge)組成(cheng)部分(fen)(fen)。四(si)(si)面(mian)(mian)(mian)直(zhi)槽(cao)(cao)內上下(xia)(xia)各琢(zhuo)(zhuo)刻(ke)(ke)一神(shen)人獸(shou)(shou)面(mian)(mian)(mian)紋(wen)圖像,共八個(ge),用淺(qian)浮(fu)雕和細(xi)線(xian)刻(ke)(ke)兩種(zhong)技法雕琢(zhuo)(zhuo)而成(cheng)。在分(fen)(fen)為(wei)(wei)兩節(jie)作角尺(chi)形(xing)的(de)長方形(xing)凸面(mian)(mian)(mian)上,以轉角為(wei)(wei)中(zhong)軸線(xian)向兩側(ce)展開,每(mei)兩節(jie)琢(zhuo)(zhuo)刻(ke)(ke)一組簡化的(de)象征性的(de)神(shen)人獸(shou)(shou)面(mian)(mian)(mian)紋(wen)圖案,四(si)(si)角相(xiang)同,左右對稱(cheng)。這一種(zhong)人與獸(shou)(shou)的(de)組合圖是良渚文化玉琮紋(wen)飾的(de)基本(ben)特(te)征。另外(wai),在獸(shou)(shou)面(mian)(mian)(mian)紋(wen)的(de)兩側(ce)各雕刻(ke)(ke)一鳥(niao)紋(wen),鳥(niao)的(de)頭、翼、身(shen)均變形(xing)夸張。整(zheng)體紋(wen)飾中(zhong)大(da)量填充卷云(yun)紋(wen)、直(zhi)線(xian)、弧線(xian),刻(ke)(ke)畫及其繁(fan)縟細(xi)致(zhi)。
良渚(zhu)(zhu)玉(yu)器線(xian)(xian)(xian)紋(wen)的(de)(de)(de)雕刻(ke),和(he)紅山文(wen)化截然不同,它琢(zhuo)磨細(xi)致,其細(xi)如毫發的(de)(de)(de)“細(xi)曲(qu)(qu)線(xian)(xian)(xian)紋(wen)是由短(duan)而(er)細(xi)的(de)(de)(de)線(xian)(xian)(xian)條錯落連接而(er)成(cheng),其直線(xian)(xian)(xian)紋(wen)是由筆直的(de)(de)(de)陰(yin)(yin)線(xian)(xian)(xian)構成(cheng)。這種細(xi)曲(qu)(qu)線(xian)(xian)(xian)紋(wen)線(xian)(xian)(xian)條的(de)(de)(de)錯落連接和(he)筆直的(de)(de)(de)陰(yin)(yin)線(xian)(xian)(xian),構成(cheng)了良渚(zhu)(zhu)文(wen)化玉(yu)器特有的(de)(de)(de)線(xian)(xian)(xian)條美。在的(de)(de)(de)良渚(zhu)(zhu)玉(yu)琮上可(ke)以(yi)清楚地看到這種工藝所雕刻(ke)的(de)(de)(de)線(xian)(xian)(xian)條如松如緊,如斷如聯,挺拔中(zhong)又(you)不乏柔(rou)軟,緊密中(zhong)又(you)略顯松馳,這種線(xian)(xian)(xian)條,是現(xian)代(dai)工藝絕然難以(yi)模仿的(de)(de)(de)。
良(liang)渚玉器上(shang)的直(zhi)線是(shi)筆直(zhi)的,卻(que)又是(shi)有(you)粗細的,還可能(neng)有(you)分叉和重(zhong)疊。
良渚玉器的(de)弧線是由短而細(xi)的(de)線條錯落連接的(de)。
良渚玉器的(de)圓(yuan)(yuan)(yuan)(yuan),加工(gong)方(fang)式有(you)兩種,一是(shi)(shi)直(zhi)接用管鉆鉆圓(yuan)(yuan)(yuan)(yuan),二是(shi)(shi)用弧線連(lian)接。用弧線連(lian)接的(de)圓(yuan)(yuan)(yuan)(yuan),有(you)明(ming)顯的(de)接痕,圓(yuan)(yuan)(yuan)(yuan)也(ye)顯得(de)不規整,往(wang)往(wang)帶有(you)棱角;而用管鉆鉆的(de)圓(yuan)(yuan)(yuan)(yuan),雖然比(bi)較(jiao)規整,圓(yuan)(yuan)(yuan)(yuan)象個圓(yuan)(yuan)(yuan)(yuan),卻(que)往(wang)往(wang)偏心,顯然是(shi)(shi)鉆孔時定位不正(zheng)所致。一般來說,比(bi)較(jiao)小的(de)圓(yuan)(yuan)(yuan)(yuan)往(wang)往(wang)用弧線連(lian)接工(gong)藝制(zhi)成(cheng),而稍大的(de)圓(yuan)(yuan)(yuan)(yuan)則用管鉆工(gong)藝鉆成(cheng)。這(zhe)兩種不同的(de)圓(yuan)(yuan)(yuan)(yuan),它們(men)在(zai)良渚玉器上的(de)出現也(ye)是(shi)(shi)鑒(jian)定者必須(xu)掌(zhang)握的(de)基(ji)本要素。
良(liang)渚玉(yu)(yu)璧、玉(yu)(yu)琮(cong)、玉(yu)(yu)管、玉(yu)(yu)鉞、玉(yu)(yu)三叉(cha)形(xing)器和(he)玉(yu)(yu)冠(guan)狀(zhuang)器等等,都(dou)有(you)穿(chuan)孔(kong)(kong),這(zhe)些(xie)穿(chuan)孔(kong)(kong)一般對(dui)(dui)穿(chuan)而成(cheng),對(dui)(dui)穿(chuan)孔(kong)(kong)的(de)(de)基(ji)本情(qing)況如(ru)圖(tu)(tu)24至圖(tu)(tu)27所示,由圖(tu)(tu)可知,不(bu)(bu)管是圖(tu)(tu)24的(de)(de)龍首紋玉(yu)(yu)圓牌、圖(tu)(tu)25的(de)(de)良(liang)渚玉(yu)(yu)鉞和(he)圖(tu)(tu)26的(de)(de)良(liang)渚玉(yu)(yu)璧這(zhe)些(xie)厚度不(bu)(bu)大的(de)(de)玉(yu)(yu)器,還是如(ru)圖(tu)(tu)27這(zhe)樣有(you)相當厚度的(de)(de)玉(yu)(yu)琮(cong),它(ta)們都(dou)采用(yong)對(dui)(dui)穿(chuan)的(de)(de)方(fang)式來鉆孔(kong)(kong)。從這(zhe)些(xie)圖(tu)(tu)上可以看出,這(zhe)些(xie)孔(kong)(kong)的(de)(de)加工工藝,都(dou)是對(dui)(dui)穿(chuan)而成(cheng),中間(jian)往(wang)往(wang)留下(xia)臺(tai)階。這(zhe)些(xie)對(dui)(dui)穿(chuan)孔(kong)(kong)就成(cheng)了鑒定(ding)良(liang)渚玉(yu)(yu)器真偽的(de)(de)表象特征。
“琮(cong)(cong)(cong)”始見于《周禮》等(deng)古籍。其形以《周禮·考(kao)工(gong)記·玉(yu)(yu)(yu)人(ren)(ren)》所釋:“大(da)(da)琮(cong)(cong)(cong)十(shi)有二寸,射四寸,厚寸”。《白虎通·文(wen)質篇(pian)》曰:“圓中(zhong)(zhong)牙身玄(xuan)外曰琮(cong)(cong)(cong)”。鄭玄(xuan)補注《周禮》時(shi)(shi)(shi)說(shuo):“琮(cong)(cong)(cong),八(ba)方(fang)象地”。南唐徐(xu)鍇釋琮(cong)(cong)(cong)時(shi)(shi)(shi)講:“狀若八(ba)角而(er)中(zhong)(zhong)圓”。后因后人(ren)(ren)難辨琮(cong)(cong)(cong)狀的(de)(de)(de)(de)實體,以致南宋時(shi)(shi)(shi)稱為“鎮圭”。至清乾隆按東漢許慎《說(shuo)文(wen)解字》,以“琮(cong)(cong)(cong),瑞玉(yu)(yu)(yu),大(da)(da)八(ba)寸,似車(che)”的(de)(de)(de)(de)說(shuo)法(fa)為據,直呼“琮(cong)(cong)(cong)”為:“輞頭(tou)、杠頭(tou)筆(bi)筒”等(deng),當時(shi)(shi)(shi)連玉(yu)(yu)(yu)琮(cong)(cong)(cong)的(de)(de)(de)(de)上下頭(tou)都不(bu)清楚,至光緒年(nian),金(jin)石家吳(wu)大(da)(da)在《古玉(yu)(yu)(yu)圖考(kao)》中(zhong)(zhong),引述了嘉(jia)慶年(nian)文(wen)字學家錢坫說(shuo)法(fa),玉(yu)(yu)(yu)“琮(cong)(cong)(cong)”的(de)(de)(de)(de)器形才(cai)得(de)以確(que)(que)認(ren)。而(er)玉(yu)(yu)(yu)琮(cong)(cong)(cong)小(xiao)頭(tou)朝下大(da)(da)頭(tou)向上的(de)(de)(de)(de)正(zheng)(zheng)確(que)(que)擺放,也是(shi)現代人(ren)(ren)給予糾(jiu)正(zheng)(zheng)的(de)(de)(de)(de)。玉(yu)(yu)(yu)琮(cong)(cong)(cong)分(fen)扁圓筒形(包括鐲形琮(cong)(cong)(cong))和方(fang)柱形,但(dan)還有小(xiao)的(de)(de)(de)(de)琮(cong)(cong)(cong)王勤(qin)子(zi)、琮(cong)(cong)(cong)管等(deng)飾品,凡是(shi)良渚玉(yu)(yu)(yu)琮(cong)(cong)(cong)類,不(bu)論(lun)大(da)(da)小(xiao)均屬珍貴文(wen)物。玉(yu)(yu)(yu)琮(cong)(cong)(cong)為無定價,在人(ren)(ren)們認(ren)識的(de)(de)(de)(de)提高下,收藏玉(yu)(yu)(yu)琮(cong)(cong)(cong)的(de)(de)(de)(de)保(bao)值與升值體系,也會隨(sui)著市場經濟發(fa)展(zhan)逐步完善起(qi)來。
經考證(zheng),玉(yu)“琮(cong)(cong)(cong)”距(ju)今4000至5000年,其(qi)功能(neng)與(yu)意(yi)義有:一、祭(ji)祀用(yong)的(de)大禮(li)器之(zhi)一,但材質(zhi)上有優(you)劣之(zhi)分。優(you)質(zhi)的(de)玉(yu)琮(cong)(cong)(cong),應按《周禮(li)》“以(yi)蒼(cang)(cang)璧(bi)(bi)禮(li)天,以(yi)黃琮(cong)(cong)(cong)禮(li)地(di)”說(shuo)法,那么玉(yu)琮(cong)(cong)(cong)是(shi)祭(ji)祀蒼(cang)(cang)茫大地(di)的(de)禮(li)器,或是(shi)巫(wu)師通神的(de)法器之(zhi)一,似(si)是(shi)印證(zheng)“璧(bi)(bi)圓象天,琮(cong)(cong)(cong)方象地(di)”等(deng)道理。劣質(zhi)的(de)玉(yu)琮(cong)(cong)(cong)、石琮(cong)(cong)(cong),或被(bei)燒(shao)過的(de)玉(yu)琮(cong)(cong)(cong),都是(shi)鎮(zhen)墓壓邪、斂尸防(fang)腐(fu)、避(bi)兇驅鬼用(yong)的(de)。二、玉(yu)琮(cong)(cong)(cong)既(ji)是(shi)種器具,也是(shi)權勢和(he)財富的(de)象征。從發掘現場可以(yi)看到,墓主(zhu)身(shen)份越顯赫,殉葬品中的(de)琮(cong)(cong)(cong)、璧(bi)(bi)就越多(duo),似(si)乎(hu)要(yao)顯示(shi)生前的(de)一切,用(yong)于隨葬恰好(hao)說(shuo)明墓主(zhu)原有身(shen)份,及其(qi)在各部落中享用(yong)財富與(yu)權勢的(de)程(cheng)度,也代表良(liang)渚(zhu)文化(hua)時期的(de)一種葬制。
此玉琮(cong)是已(yi)發(fa)現的良(liang)渚玉琮(cong)中最(zui)(zui)大、最(zui)(zui)重(zhong)、做工最(zui)(zui)精美的一件,被譽為“琮(cong)王”。
2002年(nian),此玉成(cheng)為中(zhong)國首批禁止出國(境)展覽(lan)文物(wu)。