打开尘封千年的器物世界，追寻艺术背后的人与思维

以考古之眼，追索古代中国个人思维与文化传承交织而成的艺术逻辑

书名：Art and Artistic Thinking in Ancient China/古代中国艺术与艺术思维

著者：［美］贝格利（Robert Bagley）、王海城

出版：Asian Art Museum of San Francisco，Art Media Resources，2025年

装帧：硬精装，1304页（2卷本）  

尺寸：22.8×30.5 cm

语言：英文                     

内容简介（Description）

这项历时十年的古代中国艺术研究，考察了从新石器晚期（公元前第四千纪）到战国末期（前三世纪）的玉器、陶器、丝绸、漆器、铜器和展示性文字的历史。这段时期没有记录作坊、技术或者艺术家思维的文献，新石器时代当然也没有产生任何文献。文字材料的匮乏，尽管在很多方面限制了我们的理解，但却能让研究者把注意力集中到根本问题上：艺术史学家必须依靠考古学，也必须依赖从物品本身所能攫取的信息。任何特定时空里存在的艺术品之所以有一些共同的特征，是因为它们的共同出发点是已经存在的作品。它们与上一代的作品不同，彼此之间也各异，这是因为它们的创作者和赞助人做出了不同的选择和变化。有很多因素影响了赞助人所提的要求，还有更多的因素影响了艺术家对这些要求做出的回应。但是，所有的外部因素，不管是短暂的时尚，还是皇室的指令，抑或是金属原料的短缺，都是通过个人起作用的，其后果永远无法完全预测。因此，要想阐述艺术品的历史——要想解释它们——势必要找到通向个人思维的途径，无论他们的名字是否为人所知。当我们能找到一件作品的可信的前身时，这些前期作品就为我们提供了途径来理解作品背后所蕴含的思考，因为作品背离其前身之处，反映出了有意识或无意识做出的决定。半个世纪以来，中国考古学家从年代确切或者信息丰富的遗迹中所揭示的材料之丰富让人难以想象，极大地改善了此等研究的前景。本书图版里的大部分作品在1970年时仍然深藏地下，那一年写的书决不可能做出贝格利和王海城在本书中的尝试。由于考古发掘仍在高速进行，现在写的书也决不可能奢望面面俱到或者盖棺定论。然而，不管是对于学者还是业余爱好者来说，本书所研究的艺术品都充满了意外和惊喜，相当于打开了一个全新的世界，有力地扩大了我们对艺术内涵的构想。

Ten years in the making, this study of the arts of ancient China examines the histories of jade, pottery, silk, lacquer, bronze, and display writing from the late Neolithic (fourth millennium BC) to the end of Warring States (third century BC). No text from this time bears on workshops and techniques, or on the thinking of artists; no text of any kind survives from the Neolithic. This dearth of written sources, though limiting in many ways, concentrates the mind on fundamentals: the historian must rely on archaeology and on what can be learned from the objects themselves. The works of a given time and place have features in common because of their common point of departure in what already exists. They differ from the works of the previous generation, and from one another, by choices and changes made by artists and their patrons. Many things condition the patron’s demands, and many more condition the artist’s response, but all external factors, from passing fashion to royal mandate to metal shortages, act through individuals, with consequences that are never wholly predictable. Constructing an explanatory history of works of art—making sense of them—thus depends on finding access to the thinking of individuals, whether their names are known or not. When plausible predecessors for a work can be found, they offer a way into the thinking behind it, for its departures from them reflect decisions, conscious or unconscious. The last half century of Chinese archaeology has vastly improved the prospects of such an investigation by bringing to light an undreamt-of wealth of material from datable and otherwise informative contexts. Most of the works illustrated in this book were still underground in 1970. No book written in that year could undertake what Bagley and Wang have attempted. No book written now could hope to be comprehensive or definitive, for excavation continues apace. But for scholars and amateurs alike, the works examined here, full of surprises, amount to a new world, one with the power to enlarge our conception of the possibilities of art.

目录（Contents）

Director’s Foreword

Acknowledgements

Preface

Maps

Chapter 1 Prehistoric Preliminaries

Chapter 2 Early Jade in the Far Northeast

Chapter 3 Painted Pottery in the Northwest: Majiayao

Chapter 4 The Lower Yangzi Region: Liangzhu

Chapter 5 The Lower Yellow River Valley: Dawenkou and Longshan

Chapter 6 Circa 2000 BC

Chapter 7 The Middle Yellow River Valley, c.1800–1500 BC: Erlitou

Chapter 8 The Erligang Culture and Its Spread, c.1500–1300 BC 

Chapter 9 Anyang, c.1300–1000 BC

Chapter 10 The Early Bronze Age in the Yangzi Region

Chapter 11 The Western Zhou Period, Late Eleventh Century to 771 BC

Chapter 12 Eastern Zhou Preliminaries and the Eighth Century

Chapter 13 The Seventh Century

Chapter 14 The Sixth Century

Chapter 15 The Sixth and Fifth Centuries at the Last Capital of Jin

Chapter 16 The Tomb of Marquis Yi of Zeng at Hubei Suizhou, 433 BC

Chapter 17 The Fourth and Third Centuries

Chapter 18 Parting Thoughts: the Western Han Period, 206 BC–AD 8

Notes and References

Character Glossary

Bibliography
Figure Credits

Index

书影实拍（Actual shot）

作者简介：  

著者简介（Authors）

贝格利（Robert Bagley）为哈佛大学艺术史系博士，普林斯顿大学艺术史与考古系荣休教授，研究领域涉及新石器时代至青铜时代的艺术、考古、冶金、文字起源和音乐理论，代表作包括The Great Bronze Age of China（1980）、Shang Ritual Bronzes in the Arthur M. Sackler Collections（1987）、《侯马陶范艺术》（1996，岛田著作奖）、Ancient Sichuan（2001）、Max Loehr and the Study of Chinese Bronzes（2008, 中译本《罗越与中国青铜器研究》，2019）、Gombrich among the Egyptians（2015）等多种专著和图录。

 王海城为北京大学考古系硕士，普林斯顿大学艺术史与考古系博士，现为华盛顿大学（西雅图）艺术史系Mary and Cheney Cowles讲座教授，研究方向为早期中国的考古、艺术史和音乐史，尤其致力于中国青铜时代与其他古代文明的比较研究。他的代表作包括Writing and the Ancient State（剑桥大学出版社，2014）和《剑桥世界史》《凤凰故国》等合集与图录中的诸多章节。

Robert Bagley is Professor Emeritus in the Department of Art and Archaeology, Princeton University. His research covers the art and archaeology of China from the Neolithic to the Bronze Age, metallurgy, the origin of the Chinese writing system, and ancient Chinese music theory. Representative publications include The Great Bronze Age of China (1980), Shang Ritual Bronzes in the Arthur M. Sackler Collections (1987), Art of the Houma Foundry (1996, Shimada Prize), Ancient Sichuan (2001), Max Loehr and the Study of Chinese Bronzes (2008), Gombrich among the Egyptians (2015), and many articles in journals such as Archives of Asian Art and Arts Asiatiques.

Wang Haicheng is Mary and Cheney Cowles Endowed Professor of Chinese art at the University of Washington, Seattle. His research interest focuses on the comparative study of the art and archaeology of early China. Recent publications include Writing and the Ancient State (2014), a chapter on art in Routledge Handbook of Early Chinese History (2018), and a chapter on buried and camouflaged writing in early China in The Hidden Language of Graphic Signs (2021).