漢代筆記 vol.6 阜陵王劉延：安徽壽縣東漢辟邪與投壺改寫歷史，同類銅鎏金辟邪年代現確認為東漢 - New Excavation in 2017 Has Confirmed the Purpose and Dating of Bronze Bixie in Anhui Chu Cultural Museum.

早年學者傾向將這類青銅辟邪定為六朝，皆因南京的神道上有南朝的類似巨型石雕神獸。近年來，學者逐漸達成共識，認為這類青銅辟邪應該是漢代的作品。

原因主要有兩個：

一、這類辟邪的形象在漢代已經十分成熟，東周時期已經有類似錯金銀的神獸出現；

二、作為鎮紙，更符合漢代席地而坐的生活習慣。

2017年，安徽壽縣遊客集散中心工地出土了一件類似的青銅辟邪，印證了專家的第一個觀點；同時又將其功能做出了修正，不是鎮紙，而是貴族的投壺遊戲的一部分，其背後豎立的兩個筒狀裝置，被作為承載箭的一種容器。（之前認為是一種構件）

In the early years, scholars tended to attribute these bronzes to the Sixth Dynasty because of the presence of similar giant stone sculptures of the Southern Dynasties on the Shinto paths in Nanjing. In recent years, there has been a gradual consensus among scholars that these bronzes should be attributed to the Han dynasty.

There are two main reasons for this:

First, the image of this kind of mythical beasts in the Han Dynasty has been very mature, the Eastern Zhou Dynasty has been similar to the wrong gold and silver of the beast appeared;

Second, as a mat weight, more in line with the Han Dynasty sitting on the ground habits.

In 2017, a similar bronze evil wiper was unearthed at the site of the Shou County Visitor Centre in Anhui Province, confirming the experts' first point of view; at the same time, its function has been revised, not as a mat weight, but as part of the nobleman's game of jug-throwing, with two cylindrical devices standing behind it, which were used as a kind of container to carry arrows. (Previously thought to be a component)

圖片來源：keep walking

阜陵王劉延

2009年壽春鎮計生服務站工地和2017年壽縣遊客集散中心工地，相繼發現東漢時期大型磚室墓。隨葬品中的金器、銅器、玉器和漆器製品，用料講究，製作工藝水平高超，為東漢蜀郡西工為皇室製作的宮廷用品，乃漢代精品之作。

據考證，壽春鎮計生服務中心大型磚室墓的主人就是公元87年建都壽春的第一位阜陵王劉延。這件辟邪應該就是阜陵王劉延宮廷遊戲的一部分，從誕生一刻就是集漢代宮廷審美和風雅於一身的藝術品。

Liu Yan, King of Fu Ling (阜陵王劉延)

Large brick tombs from the Eastern Han Dynasty were discovered at the Shouchun Town Birth Control Service Station site in 2009 and the Shou County Tourist Distribution Centre site in 2017. The gold, copper, jade and lacquer wares in the burials were made of exquisite materials and of high craftsmanship, and they were court items made for the royal family by the Xigong of Shu County in the Eastern Han Dynasty, which were the finest works of art in the Han Dynasty.

It is proved that the owner of the large brick tomb in Shouchun Town's Family Planning Service Centre was Liu Yan, the first king of Fuling, who established the capital of Shouchun in 87 A.D. This piece is probably the same as the one that was used by the king of Shouchun in the Eastern Han Dynasty. It is believed that this piece was part of the courtly games of King Liu Yan, and from the moment of its birth, it was a work of art combining the aesthetics and elegance of the Han Dynasty court.

蜀郡工官是漢朝中央政府設立的著名工官之一。

蜀郡西工是一處以製造漆器為主、同時製造銅器和少量鋼鐵兵器的綜合性工官，興盛於西漢中期至東漢中期，有著細緻的生產分工和嚴格的監督管理體系，其產品主要供給宮廷和皇室成員。

蜀郡西工製造的銅器，目前發現主要有酒樽、舟和酒鋗，均為酒器之屬。它們設計精巧，製作精良；器表裝飾不僅常飾有流雲紋、雲氣紋以及三角鋸齒紋等幾何形圖案，更是以神仙、人物、瑞獸等圖像等獨具特色；通體鎏銀，或鎏銀的同時花紋鎏金，是其常用的裝飾手法；酒樽的三足做成蹲熊狀，並且刻划細緻，鑲嵌綠松石和水晶等，成為其一個突出的特點。它們作為蜀郡西工造皇帝御用”乘輿”之銅器，無疑代表了當時銅器製作的最高水平。

在官營的蜀郡西工漆藝作坊，漆器的製作過程分為許多個互不干擾而又整體連續的步驟，每個步驟由專門的工匠來執行，他們極少參與指定崗位之外工作步驟。在公元前1世紀，這種勞動分工似乎更為精細，到後來一個漆杯上刻有多達八位工匠的名字。在常規的流水線工人之外，漢代許多作坊也雇用雜工（稱為“冗工"），這些散聘的男女沒有固定的崗位，而是根據需要而游走於不同的生產環節之間。如果把收集和處理生漆、研磨顏料、鑄造金屬鑲邊的不知名男女工也納入計算的話，那麼可能有多達20或30位工匠參與了一隻杯子的製作。

The Shushun Xigong (蜀郡工官) was one of the most famous government officials established by the central government of the Han Dynasty.

It was a comprehensive industrial official that mainly made lacquer wares and at the same time made copper wares and a small number of iron and steel weapons. It flourished from the middle of the Western Han Dynasty to the middle of the Eastern Han Dynasty, with a detailed division of labour and a strict supervision and management system, and its products were mainly supplied to the court and the royal family.

The bronze wares made by the Xigong of Shu County are mainly found to be wine bottles, boats and wine pots, all of which are wine vessels. They are well-designed and well-made; the surface decoration is not only often decorated with geometric patterns such as flowing clouds, clouds and triangular sawtooth patterns, but also with images of gods and immortals, figures, and auspicious animals, etc.; gilt-silver, or gilt-silver while gilt patterns are its common decorative techniques; the three feet of the bottle are made into squatting bears, and the carving is delicate, and the inlays of turquoise and crystals have become one of the outstanding features. As the bronze vessels of the Emperor's imperial ‘mikoshi’, they undoubtedly represented the highest level of bronze production at that time.

In the government-run Xigong Lacquer Workshop in Shu County, the lacquer production process was divided into a number of non-interfering yet continuous steps, each of which was carried out by specialised craftsmen, who seldom participated in steps outside their designated posts. This division of labour seems to have become even more refined in the 1st century BC, with the names of up to eight craftsmen inscribed on a single lacquer cup. In addition to the regular assembly-line workers, many Han workshops also employed miscellaneous workers (called ‘redundant workers’), men and women who were not assigned to a fixed position but moved between different stages of production as needed. If we include the unknown men and women who collected and processed the lacquer, ground the pigments, and cast the metal rims, then as many as 20 or 30 craftsmen may have been involved in the production of a single cup.