甲骨與填色

甲骨與填色

2022/11/30
2023/01/12
展覽頁面呈現形式
縱式
策展者
柯維盈
林百尉
黃銘崇
歷史文物陳列館
展覽封面
c70e835c27447d3cbeb7bb593a8c0cdc
展覽資料
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src=\"https://ihp.openmuseum.tw/files/muse_ihp/image/12/31/39/34/39/%E5%BC%B5%E7%A7%89%E6%AC%8A.jpg\" class=\"info-img\">\n\t<h2 style=\"background-color: #E75F5F;\">張秉權</h2>\n\t<p>負責復原、綴合和考釋YH127坑的甲骨,出版《殷墟文字丙編》,以單版甲骨為單位,逐版記錄甲骨文字的填色與褪色狀況,並分成硃、褐、墨三種顏色。其後學界對史語所發掘甲骨填色現象的肉眼觀察結果,均未超出張秉權等學者建立的顏色分類。\n</p>\n</div>" }, "theme-9toiwps1eq": { "id": "theme-9toiwps1eq", "type": "theme", "sortable": true, "primaryObj": { "oid": "f4df35cb32cf5b9203d0faa7fcda41b9", "fileType": "image", "fileURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/w1024/mcode/d303119f8f0f707c0b59d9e9c6b3d413.jpg?itok=hityY7w2", "level": "primary", "title": "甲骨填色展覽封面與單元頁素材", "desc": "", "thumbURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/square_thumbnail_100/mcode/d303119f8f0f707c0b59d9e9c6b3d413.jpg?itok=Riour1Av", "thumbMediumURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/thumbnail_medium/mcode/d303119f8f0f707c0b59d9e9c6b3d413.jpg?itok=I8LPD0_b", "thumbBigURI": 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class=\"info-text\">\n\t\t<h2>非侵入式的拉曼光譜分析方法及應用</h2>\n\t\t<p>拉曼光譜儀結合共聚焦顯微鏡及雷射器,形成精準微量取得分子指紋的理想組合;透過這種非侵入式的檢測方法,可迅速辨識樣品中的各種化合物。自2000年代技術成熟之後,拉曼光譜已被學界大量用於分析考古所出土無機質類(包括陶瓷、玻璃等)、有機質類(包括竹木漆器、紡織品、紙質等)以及複合類(包括壁畫、彩陶等)文物,進行顏料成分鑑定、膠料及有機殘留物鑑定、胎體分析,以及真偽鑑別;其中,顏料成分鑑定被廣泛用於壁畫、紙本手稿、漆器、陶器,以及青銅器等,為學者提供關於古代文物所塗顏料種類、來源、製作方法,以及彩繪復原的重要材料。</p>\n\t</div>\n</div>" }, "embed_html-ge22k4ualh": { "id": "embed_html-ge22k4ualh", "type": "embed_html", "sortable": true, "weight": 8, "embed_html": "<style type=\"text/css\">\n\t.info {\n\t\twidth: 100%;\n\t\theight: 100vh;\n\t\tdisplay: flex;\n\t\tjustify-content: center;\n\t\talign-items: center;\n\t}\n\t.info-img {\n\t\theight: 100%;\n\t\tmax-height: 800px;\n\t\twidth: auto;\n\t}\n\t.info-text {\n\t\tbackground: #fff;\n\t\tborder: 5px solid #EEC575;\n\t\tpadding: 2em;\n\t\twidth: 35vw;\n\t\tmin-height: 300px;\n\t}\n\t.info-text h2 {\n\t\tfont-size: 2rem;\n\t\ttext-align: center;\n\t\tmargin-bottom: 1rem;\n\t}\n\t.info-text p {\n\t\tfont-size: 1.125rem;\n\t}\n\t@media 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href=\"https://ihp.openmuseum.tw/muse/exhibition/5d773ae251a1610d6c01c1c226c8e03e\">展開閱讀,深入了解~</a>", "musicName": "無", "weight": 14, "musicText": "", "musicURL": "" }, "theme-pq3frbzqlc": { "id": "theme-pq3frbzqlc", "type": "theme", "sortable": true, "primaryObj": { "oid": "f4df35cb32cf5b9203d0faa7fcda41b9", "fileType": "image", "fileURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/w1024/mcode/6c6f75c674a6151854f016ceb097f858.jpg?itok=Ui7FWTTQ", "level": "primary", "title": "甲骨填色展覽封面與單元頁素材", "desc": "", "thumbURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/square_thumbnail_100/mcode/6c6f75c674a6151854f016ceb097f858.jpg?itok=fkdZshbp", "thumbMediumURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/thumbnail_medium/mcode/6c6f75c674a6151854f016ceb097f858.jpg?itok=c6DgM0fZ", "thumbBigURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/thumbnail_big/mcode/6c6f75c674a6151854f016ceb097f858.jpg?itok=cUVsrKF3", "background": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/w1920/mcode/6c6f75c674a6151854f016ceb097f858.jpg?itok=kbn0FJeP", "mfid": "6c6f75c674a6151854f016ceb097f858", "musicURL": "", "musicName": "", "fileCreator": "", "rights": "歷史文物陳列館", "rightsLogo": "https://ihp.openmuseum.tw/files/muse_ihp/styles/square_thumbnail_100/public/default_rights/memder_non-01.png?itok=DszBk5va", "fileLicence": "著作權利所有", "fileDisableLink": "1", "sourceID": "", "creator": "", "fileOversize": false }, "title": "爲什麼要在甲骨上填色?", "desc": "主要有三種說法...", "musicName": "無", "weight": 15, "musicText": "", "musicURL": "" }, "embed_html-10wgzamv9j": { "id": "embed_html-10wgzamv9j", "type": "embed_html", "sortable": true, "weight": 16, "embed_html": "<style>\ndetails > summary {\n padding: 4px;\n background-color: #eeeeee;\n border: none;\n box-shadow: 1px 1px 2px #bbbbbb;\n cursor: pointer;\n text-align: center;\n}\n\n.summary-info {\n box-shadow: 3px 3px 6px 1px #bbbbbb;\n width: 70%;\n margin: 0 auto;\n}\n.summary-info p {\n margin: 0 auto;\n width:100%;\n padding: 1em;\n}\n\nh2 {\n\tdisplay: inline-block;\n}\n\n.center{\n\ttext-align: center;\n}\n.iframe-block {\n width:800px;\n height:20px;\n margin:1em auto;\n}\n@media screen and (max-width: 960px) {\n .iframe-block {\n width:100%;\n height:20px;\n }\n .summary-info {\n width: 90%;\n }\n summary h2 {\n display: initial;\n }\n .summary-info p {\n margin: 0 auto;\n width:100%;\n padding: 8px;\n text-align: left!important;\n }\n}\n\n</style>\n\n<details open =\"\">\n<summary><h2>說法1:美觀</h2></summary>\n <div class=\"summary-info\" >\n <div class=\"center\" >\n <div class=\"iframe-block\"> \n </div>\n </div>\n <p>董作賓:「將已刻文字的甲與骨,加以朱或墨的裝潢塗辭,這是武丁時代卜辭的一種特色」、 「塗辭硃墨以求美觀……」、 「在刻劃的卜兆上,也便塗以硃墨,於是黑紅相映,看起來疏朗清晰、鮮豔悅目」。 \n </p>\n <p>胡厚宣:「契刻卜兆與塗朱塗墨同,為一種藝術,目的在使其顯赫,以求美觀也。」\n </p>\n <p>馬如森:「為了字體的美觀,為了對某一事件表示莊重及嚴肅,是塗朱的主要作用。」\n </p>\n </div>\n</details>" }, "embed_html-3a90r3u5r9": { "id": "embed_html-3a90r3u5r9", "type": "embed_html", "sortable": true, "weight": 17, "embed_html": "<style>\ndetails > summary {\n padding: 4px;\n background-color: #eeeeee;\n border: none;\n box-shadow: 1px 1px 2px #bbbbbb;\n cursor: pointer;\n text-align: center;\n}\n\n.summary-info {\n box-shadow: 3px 3px 6px 1px #bbbbbb;\n width: 70%;\n margin: 0 auto;\n}\n.summary-info p {\n margin: 0 auto;\n width:100%;\n padding: 1em;\n}\n\nh2 {\n\tdisplay: inline-block;\n}\n\n.center{\n\ttext-align: center;\n}\n.iframe-block {\n width:800px;\n height:20px;\n margin:1em auto;\n}\n@media screen and (max-width: 960px) {\n .iframe-block {\n width:100%;\n height:20px;\n }\n .summary-info {\n width: 90%;\n }\n summary h2 {\n display: initial;\n }\n .summary-info p {\n margin: 0 auto;\n width:100%;\n padding: 8px;\n text-align: left!important;\n }\n}\n\n</style>\n\n<details open =\"\">\n<summary><h2>說法2:醒目</h2></summary>\n <div class=\"summary-info\" >\n <div class=\"center\" >\n <div class=\"iframe-block\"> \n </div>\n </div>\n <p>董作賓:「刻完了數字、卜辭,用硃墨分別塗辭,使它顯明。」 \n </p>\n <p>胡厚宣:「契刻卜兆與塗朱塗墨同,為一種藝術,目的在使其顯赫,以求美觀也。」\n </p>\n <p>張秉權:「卜辭刻好以後,往往又在刻痕中填些朱、褐、墨等顏色。那大概是為了使得文字顯著,易於辨識的緣故。」\n </p>\n <p>林宏明:「以刀契刻於甲骨上,其上的文字是極不易辨識的,因此不論塗上何種顏色,其最本質的原因應該還是為了醒目。」\n </p>\n </div>\n</details>" }, "embed_html-6rjwjk5a9m": { "id": "embed_html-6rjwjk5a9m", "type": "embed_html", "sortable": true, "weight": 18, "embed_html": "<style>\ndetails > summary {\n padding: 4px;\n background-color: #eeeeee;\n border: none;\n box-shadow: 1px 1px 2px #bbbbbb;\n cursor: pointer;\n text-align: center;\n}\n\n.summary-info {\n box-shadow: 3px 3px 6px 1px #bbbbbb;\n width: 70%;\n margin: 0 auto;\n}\n.summary-info p {\n margin: 0 auto;\n width:100%;\n padding: 1em;\n}\n\nh2 {\n\tdisplay: inline-block;\n}\n\n.center{\n\ttext-align: center;\n}\n.iframe-block {\n width:800px;\n height:20px;\n margin:1em auto;\n}\n@media screen and (max-width: 960px) {\n .iframe-block {\n width:100%;\n height:20px;\n }\n .summary-info {\n width: 90%;\n }\n summary h2 {\n display: initial;\n }\n .summary-info p {\n margin: 0 auto;\n width:100%;\n padding: 8px;\n text-align: left!important;\n }\n}\n\n</style>\n\n<details open =\"\">\n<summary><h2>說法3:宗教相關</h2></summary>\n <div class=\"summary-info\" >\n <div class=\"center\" >\n <div class=\"iframe-block\"> \n </div>\n </div>\n <p>宋鎮豪:「塗辭可能出於某種占卜心理或與特定的宗教信念有關。」 \n </p>\n <p>白川靜:「施朱於刻辭而使之聖化者,乃是因為貞卜之行為,並不止於預占;它還附有卜兆全體所顯示的神意將來必當實現的意義。亦即所謂卜辭,並不止於貞卜,它還帶著要求貞卜結果變為事實的意味。因此將之刻於卜兆之旁,施色而使之聖化,更且期待於將來的作用,而顯示所證實的事情。」\n </p>\n </div>\n</details>" }, "quote-x79y0pslm7": { "id": "quote-x79y0pslm7", "type": "quote", "sortable": true, "musicName": "無", "weight": 19, "desc": "透過拉曼光譜分析甲骨塗色現象,我們得以鑑定顏料成分、確定顏色種類,從而解決學界長期懸而未決的顏料定性分析問題,並建立客觀、準確的顏色分類,提供學者進一步討論甲骨塗色之功能及意義的可能性。<br><br>那麼你認為甲骨為什麼要塗色呢?", "musicText": "", "musicURL": "" }, "thanks": { "id": "thanks", "type": "thanks", "sortable": false, "thanksList": { "歷史文物陳列館": { "rights": "歷史文物陳列館", "rightsLogo": 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This is a divination concerning sacrificial rituals and praying for rain.", "thumbURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/square_thumbnail_100/mcode/5ce190d7c94a536f8e8c3b1d0f53fe50.jpg?itok=RJoAZ7xp", "thumbMediumURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/thumbnail_medium/mcode/5ce190d7c94a536f8e8c3b1d0f53fe50.jpg?itok=p9aTZ4p9", "thumbBigURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/thumbnail_big/mcode/5ce190d7c94a536f8e8c3b1d0f53fe50.jpg?itok=7M_jn8Io", "background": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/w1920/mcode/5ce190d7c94a536f8e8c3b1d0f53fe50.jpg?itok=Qb6Oj_7X", "mfid": "5ce190d7c94a536f8e8c3b1d0f53fe50", "musicURL": "", "musicName": "", "fileCreator": "中央研究院歷史語言研究所", "rights": "中央研究院歷史語言研究所", "rightsLogo": "https://ihp.openmuseum.tw/files/muse_ihp/styles/square_thumbnail_100/public/default_rights/memder_non-04.png?itok=gq-PTcKL", "fileLicence": "創用CC 姓名標示-非商業性-相同方式分享", "fileDisableLink": "0", "sourceID": "", "creator": "", "fileOversize": false }, "777fb84447e0442e0f22a1155850200c": { "oid": "777fb84447e0442e0f22a1155850200c", "fileType": "image", "fileURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/w1024/mcode/bab2e7bf24bc5f68bb76ba9f737291be.jpg?itok=P23TkJJW", "level": "primary", "title": "帶填硃卜辭龜腹甲/帶填硃卜辭龜腹甲|R044852BCWA_3", "desc": "刻有甲骨文數十字。刻字有填墨。本版內容是卜問農作物是否有好收成的刻辭,\"韋\"是貞人名。而本版值得注意的是,有部份刻辭直接刻在卜兆上,也就是所謂的\"犯兆\"。", "thumbURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/square_thumbnail_100/mcode/bab2e7bf24bc5f68bb76ba9f737291be.jpg?itok=blAG4cd2", "thumbMediumURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/thumbnail_medium/mcode/bab2e7bf24bc5f68bb76ba9f737291be.jpg?itok=R2tOiQ-8", "thumbBigURI": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/thumbnail_big/mcode/bab2e7bf24bc5f68bb76ba9f737291be.jpg?itok=n58XlFbc", "background": "https://ihp.openmuseum.tw/files/muse_ihp/muse_styles/w1920/mcode/bab2e7bf24bc5f68bb76ba9f737291be.jpg?itok=QdImWQLz", "mfid": "bab2e7bf24bc5f68bb76ba9f737291be", "musicURL": "", "musicName": "", "fileCreator": "中央研究院歷史語言研究所", "rights": "中央研究院歷史語言研究所", "rightsLogo": "https://ihp.openmuseum.tw/files/muse_ihp/styles/square_thumbnail_100/public/default_rights/memder_non-03.png?itok=h0rkcAOw", "fileLicence": "創用CC 姓名標示-非商業性-相同方式分享", "fileDisableLink": "0", "sourceID": "", "creator": "", "fileOversize": false } }, "title": "誌謝", "desc": "●特別感謝劉致慧小姐協助拉曼科學分析工作;許舒雅小姐、吳慧婷小姐協助展覽內容設計排版;蔡皓予先生協助展覽圖像展覽素材設計製作。<br><br><br>●延伸閱讀:<br>林百尉、柯維盈、劉致慧、陳光宇、黃銘崇,〈甲骨上的色彩與顏料——史語所藏甲骨選粹〉,待刊。<br><br><br>●參考書目:<br><span><b>甲骨釋文</b><b></b></span>\n\n&nbsp;<br>1.董作賓,《小屯第二本.殷虛文字乙編》上、中、下輯。臺北:中央研究院歷史語言研究所,1994。<br>2.張秉權,《小屯第二本.殷虛文字丙編》上、中、下輯。臺北:中央研究院歷史語言研究所,1992、1997。\n\n<br>3.張秉權,《殷虛文字丙編考釋》。臺北:中央研究院歷史語言研究所,1972。\n\n<br>4.朱岐祥,《殷虛文字丙編選讀》。臺北:台灣學生書局,2021。\n\n<br>5.張惟捷、蔡哲茂編著,《殷虛文字丙編摹釋新編》。臺北市:中央研究院歷史語言研究所,2017。\n\n<br>6.香港中文大學,「漢達文庫」。網址:<a target=\"_blank\" rel=\"nofollow\" href=\"http://www.chant.org/Bone/\">http://www.chant.org/Bone/</a>。<br><br><span><b>過去對甲骨填色現象的記錄與研究</b><b></b></span>\n\n&nbsp;<br>1.董作賓,〈新獲卜辭寫本後記〉,頁183-213。收入《安陽發掘報告(第一期)》。臺北:中央研究院歷史語言研究所,1929;1996年景印一版。<br><span>2.屈萬里,《殷虛文字甲編考釋》。臺北:聯經出版公司,1984。<br></span>3.張秉權,〈序〉,頁1-13。收入氏編著,《殷虛文字丙編.上輯(一)》。臺北:中央研究院歷史語言研究所,1957。<br><span><b><br>科學分析甲骨所填顏料</b><b></b></span>\n\n&nbsp;<br>1.柯維盈、林百尉、劉致慧、黃銘崇、陳光宇,〈甲骨刻辭之塗色及其意義——以YH127 坑為例〉,頁1-48。收入《第二十一屆中區文字學學術研討會論文集》(未出版)。臺中:逢甲大學中文系,2019年。<br>2.陳光宇、劉致慧、柯維盈、林百尉、黃銘崇,〈甲骨刻辭塗色的拉曼光譜分析〉,頁458-474。收入宋鎮豪主編,《甲骨文與殷商史》新十輯。上海:上海古籍出版社,2020。\n\n<br>3.陳光宇、劉致慧、何毓靈、柯維盈、黃銘崇,〈殷墟出土甲骨、文物、棺土的拉曼光譜分析〉,《古今論衡》37期\n(2021.12),頁73-89。\n\n<br>4.Liu,\nJhih-Huei, Weiying Ke, Ming-chorng Hwang, Kuang Yu Chen. “Micro-Raman\nspectroscopy of Shang oracle bone inscriptions.” Journal of Archaeological\nScience 37 (June 2021): 102910, accessed March 2, 2022, doi:\n10.1016/j.jasrep.2021.102910. <br>\n\n<span>5.Liu, Jhih-Huei,\nYuling He, Weiying Ke, Ming-chorng Hwang, Kuang Yu Chen. “Cinnabar Use in Shang\nSociety: Study with Micro-Raman Spectroscopy and X-Ray Fluorescence.” Available\nat SSRN: <a target=\"_blank\" rel=\"nofollow\" href=\"https://ssrn.com/abstract=3958705\">https://ssrn.com/abstract=3958705</a> or\n<a target=\"_blank\" rel=\"nofollow\" href=\"http://dx.doi.org/10.2139/ssrn.3958705\">http://dx.doi.org/10.2139/ssrn.3958705</a>, accessed March 2.</span>", "weight": 20 } }
來源
中央研究院歷史語言研究所
展覽音檔
{}
柯維盈林百尉黃銘崇歷史文物陳列館