A Preliminary Study On The Pottery Gui-Tripod Of Liangzhu Cultural

The aim of this paper is to study the evaluative sequence, origin and flow, and thefunctions about the pottery Gui-tripods of Liangzhu Culture.First,I try to have arestaging of the Liangzhu culture, and taking advantage of the series of potteryGui-tripods excavated in Haochuan Cemetery,in order to figure out the sequence of thepottery Gui-tripods in the temporal and special framework of Liangzhu Culture. Thepottery Gui-solid tripods came into being and existed during the medium-stage ofLiangzhu Culture, while the pottery Gui-hollow tripods were produced a little later andthen fully developed in the middle and late stage of the Liangzhu Culture. Comparedwith the beginning of the pottery Guis of the Dawenkou Culture exhumed in the lowerreaches of the Yellow River, it is obvious that the birth of the Liangzhu potteryGui-solid tripods benefited from the former. The Liangzhu pottery Gui-hollow tripodsappeared earlier than the Dawenkou Culture, the sweet potato Guis of DawenkouCulture were in close with the pottery gui-hollow tripods of type Ba. Liangzhu hollowtripods had a strong effect on the surrounding archaeological cultures, for thelong-necked pottery gui-hollow tripod, the representative of the Qianshanyang Culture,could be seen as the descendant of the Liangzhu hollow tripod. The diversity andabundant of Liangzhu pottery Gui not only show the lofty ceramics of Liangzhuculture, but also show a colorful spiritual world of the prehistorical Liangzhuoccupants. Furthermore, Different deposition environments embody different socialfunctions of the pottery Guis.The whole thesis consists of9parts.Part1: IntroductionDefine the spatial and temporal framework of the object of the study and point outits significance. Part2: Reviewing of the related studiesBy generalizing the past archaeological studies about Liangzhu Culture, theycould be divided into four stages. After a clear analysis of the current study on potteryGuis of the culture, this part values the academic debates.Part3: The sequence of Liangzhu CultureBased on context in typical archaeological sites and typological approach ofpotteries, the spatial-temporal framework of Liangzhu Culture is initially established.It helps divide the Liangzhu Culture into early, medium and late stages.Part4: The relative date of the Haochuan Cemetery and Liangzhu CultureIn this part, the relationship between the Haochuan Cemetery and the LiangzhuCulture and their chronological relation are fully studied. The phase1and2ofHaochuan Cemetery corresponded to the6th stage of Liangzhu Culture, and the samecorresponding relations can be found between the phase3of Haochuan and the7thstage of Liangzhu. Similarly, the posterior segment of phase3and the forpart of phase4of Haochuan share a same time with the8th stage of Liangzhu.Part5:The development sequence of the pottery Gui-tripodsTypological analysis was carried out in order to find out the evaluative sequenceof different kinds of pottery Guis and their position in the spatial-temporal framework.The pottery Gui-solid tripods appeared intensively in the medium-term of theLiangzhu Culture, the time when the hollow tripods appeared and developed was in themiddle and late stages of Liangzhu Culture.Part6: The origin of pottery Gui-tripodsThis part compares the same kind of pottery vessels of Dawenkou Culture withLiangzhu pottery Gui-solid tripods to explain the latter appeared by the former’sinfluence. The Liangzhu pottery Gui-hollow tripods appeared earlier than those ofDawenkou Culture, the latter having close relation with relative vessels of theLiangzhu Culture. Unfortunately, Available data cannot give a reasonable explanationfor the origin of Liangzhu pottery Gui-hollow tripods.Part7: The flow and the lower age limit of Liangzhu pottery Guis According to the Liangzhu pottery Guis found in the Peripheral ArchaeologicalCulture fields such as the Yuchisi and Haochuan Cemetery, the transverse flow andarea of Liangzhu pottery Guis are analyzed in this part. And the information about theirportrait spread comes from long-necked pottery gui-hollow tripod seen inQianshanyang Culture. The Liangzhu Culture and Qianshanyang Culture came intobeing one after another, for the beginning age of the latter is the ending age of theformer. Thus, the study indicates that the lower age limit of Liangzhu hollow tripodshould be earlier than the3rdphase of the early Longshan Culture.Part8: Functions of the Liangzhu pottery GuisTry to deduce the social functions of Liangzhu pottery Guis by analyzing theirshapes, textures and burial environments.Part9: ConclusionMain ideas of this paper are summarized.