邓淑苹
台北故宫博物院，台湾台北

Abstract：This article discusses why bi, cong, gui, zhang, hu, huang were chosen to be liuqi, the six jade
artifacts for the most important ritual rites, as recorded in the Zhou Li (Rites of Zhou) composed in the
Warring States period. The author argues that the Confucian scholars in the Warring States period constructed
the ideology of liuqi by combing artifacts of bi, gui, and zhang from the Zhou culture, and hu and huang from
Chu culture, as well as the cong appeared under the trend of vintage during the late Spring and Autumn
period. The known materials show that cong should be in the square shape, which functioned as an object
dedicated to the earth. The jade cong of the prehistoric period in the upper and middle reaches of the yellow
River can be categorized as “primary” and that of the late phase of the Liangzhu culure in the lower
Yangtze River as“secondary”. The reason for the occurrence of the “secondary” jade cong in the late
phase of the Liangzhu culture is worth further investigation. The author’s studies on the jade cong from the
Qingliangsi cemetery indicating that the ones without decoration are typical of the Qijia culture and the ones
with engraved straight lines should have been receiving the influence from the east.
Keywords：Rites of Zhou, liuqi, jade cong
摘要：本文先探讨约于战国时代《周礼》成书时，为何选择了璧、琮、圭、璋、琥、璜，这六种玉器成为祭祀
天地及四方神明的玉礼器，即所谓“六器”。经研究可知，是约战国时代博学的儒者，广纳了周文化里的璧、
圭、璋；楚文化里的琥、璜；以及春秋晚期以后三晋地区复古风潮下的玉琮；组装了“六器”的架构。从庙底沟
文化、先齐家系、齐家文化、春秋战国、汉代至明代，一以贯之的玉琮文化确知，玉琮的必要条件是方形、主要
功能是祭地。黄河上中游史前玉琮是原生性玉琮。反观考古学界近30年来，一直被清末金石学家误导，将良渚
文化早期弧形器壁的玉方镯误命名为“琮”。事实上良渚晚期突变出来外壁平直方正厚实的才是玉琮。此类次生
性玉琮的发生成因值得探索。晋南清凉寺墓地出土的玉琮，有光素的齐家文化玉琮。1件器壁刻有垂直阴线者，
是受到华东风格影响的“晋陕式齐家文化玉琮”。
关键词：周礼；六器；琮