论文部分内容阅读
反山12号墓中出土的“玉琮王”(M12:98)是良渚文化玉器的巅峰之作。琮的器型变化体现了玉器制作的节约原则,完整的神人兽面纹则是随着神化体系的完善,经历了一定发展过程而逐步形成的。
Unearthed from the Tomb of No.12 Anshan was “the king of jade” (M12: 98), the pinnacle of the Liangzhu culture jade. The change of device type embodies the principle of saving jade, and the integrity of God-man and animal face pattern gradually evolves with the development of the system of deification.