The Zhukaigou culture was a late Neolithic and early Bronze Age culture centered in the of Inner Mongolia, China. The type site at Zhukaigou was discovered in Ejin Banner, Inner Mongolia, and excavated from 1977 to 1984.
Archaeologists have divided the culture into five phases, corresponding with the late stage of the Longshan culture, the early, middle and late stages of the Erlitou culture and the early stage of the Erligang culture. The early phase of the culture was influenced by the Longshan culture, while the middle phases were influenced by the Qijia culture; it was during this time frame when bronze artefacts begin to appear in the material culture. During the last phase of the Zhukaigou culture, the former practice of sheep and pig sacrifices was gradually being replaced by the practice of dog sacrifices.
Tuesday, September 30, 2008
Upper Xiajiadian culture
The Upper Xiajiadian culture was a Bronze Age archaeological culture in Northeast China derived from the Eurasian steppe bronze tradition, and roughly contemporaneous to the Western Zhou Dynasty. The culture was found mainly in southeastern Inner Mongolia, northern Hebei and western Liaoning, China; its range was slightly larger than that of the Lower Xiajiadian culture, reaching areas north of the Xilamulun River. Compared to the Lower Xiajiadian culture, the population levels were lower, less dense, and more widespread. The culture still relied heavily on agriculture, but also moved toward a more pastoral, nomadic lifestyle. The social structure changed from being an acephalous or tribal society to a more chiefdom-oriented society. The type site is represented by the upper layer at Xiajiadian, Chifeng, Inner Mongolia.
The Upper Xiajiadian culture produced inferior ceramic artefacts compared to that of the Lower Xiajiadian culture, although this was compensated by superior bronze, bone and stone artefacts. The culture is well-known for its bronze objects, producing bronze daggers, axes, chisels, arrowheads, knives and helmets. Upper Xiajiadian bronzes were decorated with animal and natural motifs. These motifs indicate possible Scythian affinities, suggesting continuing cultural contact and exchange across the Eurasian steppes. The locally produced bronze vessels were much smaller than comparable bronzes from . In the later periods, Zhou-style dagger-axes and bronze vessels were found at Upper Xiajiadian sites. In one case, bronze vessels belonging to the ruling family of the state of Xu were discovered in an Upper Xiajiadian grave at Xiaoheishigou, evidenced by the inscriptions on one of the vessels.
The culture showed evidence of a drastic shift in lifestyle compared to that of the Lower Xiajiadian culture. The Upper Xiajiadian culture placed less emphasis on permanent structures, preferring to reoccupy Lower Xiajiadian structures or reuse Lower Xiajiadian stones for building Upper Xiajiadian structures. The horse became important to the culture, as evidenced by the remains of horses and horse paraphernalia found at Upper Xiajiadian sites. The culture also moved away from a centralized social organization, as no evidence for large public works was discovered at Upper Xiajiadian sites. The culture shifted from relying on pigs to relying on sheep and goats for its primary source of domesticated protein. The culture built more extravagant graves for its elites than the Lower Xiajiadian, with more numerous and elaborate burial offerings. Upper Xiajiadian burials were marked by cairns and tumulus.
The Upper Xiajiadian culture produced inferior ceramic artefacts compared to that of the Lower Xiajiadian culture, although this was compensated by superior bronze, bone and stone artefacts. The culture is well-known for its bronze objects, producing bronze daggers, axes, chisels, arrowheads, knives and helmets. Upper Xiajiadian bronzes were decorated with animal and natural motifs. These motifs indicate possible Scythian affinities, suggesting continuing cultural contact and exchange across the Eurasian steppes. The locally produced bronze vessels were much smaller than comparable bronzes from . In the later periods, Zhou-style dagger-axes and bronze vessels were found at Upper Xiajiadian sites. In one case, bronze vessels belonging to the ruling family of the state of Xu were discovered in an Upper Xiajiadian grave at Xiaoheishigou, evidenced by the inscriptions on one of the vessels.
The culture showed evidence of a drastic shift in lifestyle compared to that of the Lower Xiajiadian culture. The Upper Xiajiadian culture placed less emphasis on permanent structures, preferring to reoccupy Lower Xiajiadian structures or reuse Lower Xiajiadian stones for building Upper Xiajiadian structures. The horse became important to the culture, as evidenced by the remains of horses and horse paraphernalia found at Upper Xiajiadian sites. The culture also moved away from a centralized social organization, as no evidence for large public works was discovered at Upper Xiajiadian sites. The culture shifted from relying on pigs to relying on sheep and goats for its primary source of domesticated protein. The culture built more extravagant graves for its elites than the Lower Xiajiadian, with more numerous and elaborate burial offerings. Upper Xiajiadian burials were marked by cairns and tumulus.
Qijia culture
The Qijia culture was an early Bronze Age culture distributed around the upper Yellow River region of western Gansu and eastern Qinghai, China. Johan Gunnar Andersson discovered the initial site at ''Qijiaping'' in 1923. During the late stages of the culture, the Qijia culture retreated from the west and suffered a reduction in population size. Qijia culture produced some of the earliest bronze and copper found in China. Extensive domestication of horses are found at many Qijia sites.
The archaeological site at Lajia is associated with the Qijia culture.
The archaeological site at Lajia is associated with the Qijia culture.
Lower Xiajiadian culture
The Lower Xiajiadian culture is an archaeological culture in Northeast China, found mainly in southeastern Inner Mongolia, northern Hebei and western Liaoning, China. Subsistence was based on millet farming supplemented with animal husbandry and hunting. Archaeological sites have yielded the remains of pigs, dogs, sheep and cattle. The culture built permanent settlements and achieved relatively high population densities. The population levels reached by the Lower Xiajiadian culture in the Chifeng region would not be matched until the Liao Dynasty. The culture was preceded by the Hongshan culture, through the transitional Xiaoheyan culture. The type site is represented by the lower layer at Xiajiadian, Chifeng, Inner Mongolia.
Stone, bone and pottery artefacts were discovered at Lower Xiajiadian sites, while gold, lead, lacquer, jade, copper and bronze artefacts are also found. The most commonly found copper and bronze artefacts are earrings.
People of the Lower Xiajiadian practiced oracle bone divination. The culture prepared its oracle bones by drilling and polishing the bones before heating them. Inscriptions are generally not found on examples of oracle bones of the Lower Xiajiadian.
People had good access to local sources of stone, primarily basalt, which were often used in construction and tool-making. Lower Xiajiadian houses were typically round, made from mud and stone, and were built with stone walls. Lower Xiajiadian settlements were built near and were protected by cliffs or steep slopes. Stone walls were sometimes erected around the non-sloped perimeter of its settlement. Walls were not thick. Walls with watchtowers and were built by sandwiching a rammed earth core with two sides of stone walls.
Stone, bone and pottery artefacts were discovered at Lower Xiajiadian sites, while gold, lead, lacquer, jade, copper and bronze artefacts are also found. The most commonly found copper and bronze artefacts are earrings.
People of the Lower Xiajiadian practiced oracle bone divination. The culture prepared its oracle bones by drilling and polishing the bones before heating them. Inscriptions are generally not found on examples of oracle bones of the Lower Xiajiadian.
People had good access to local sources of stone, primarily basalt, which were often used in construction and tool-making. Lower Xiajiadian houses were typically round, made from mud and stone, and were built with stone walls. Lower Xiajiadian settlements were built near and were protected by cliffs or steep slopes. Stone walls were sometimes erected around the non-sloped perimeter of its settlement. Walls were not thick. Walls with watchtowers and were built by sandwiching a rammed earth core with two sides of stone walls.
Liaoning bronze dagger culture
The Liaoning bronze dagger culture is an complex of the late Bronze Age in Northeast Asia. Artifacts from the culture are found primarily in the Liaoning area of Manchuria and in the Korean peninsula. Various other bronze artifacts, including ornaments and weapons, are associated with the culture, but the daggers are viewed as the most characteristic. Liaoning bronzes contain a higher percentage of zinc than those of the neighboring bronze cultures.
Lee considers that the culture is properly divided into five phases: Phases I and II typified by violin-shaped daggers, Phases IV and V by slender daggers, and Phase III by the transition between the two. Of these, remains from Phases I, II and III can be found in some amounts in both the Korean peninsula and Manchuria, but remains from Phases IV and V are found almost exclusively in Korea.
The early phase consists of an early period of bronze manufacture without daggers, followed by a period of producing violin-shaped daggers. The prime period of production of violin-shaped daggers is dated to the and centuries BCE.
The earliest artifacts from this period are found exclusively in Manchuria, and seem only gradually to have spread to the Korean peninsula. By Lee's Phase II, however, a distinctive notched form of dagger begins to emerge in southern Korea, suggesting that by this time independent bronze production had begun in that region.
Evidence gained from pottery indicates that the bronze dagger "culture" of this time actually included several distinct cultural groups. One distinct pottery tradition is found in Manchuria and northwestern Korea, another in the Taedong River valley, another in the southwest around the Chungcheong provinces including the Geum River, and yet another throughout the rest of the southern Korean peninsula including Jeju island.
This later part of the Liaoning bronze dagger culture is often referred to as the "Korean bronze dagger culture," since it was largely restricted to the Korean peninsula. At this point the Liaoning culture artifacts begin to disappear from the Manchurian area. A new form of dagger begins to turn up on the Korean peninsula, straight and slender.
The greatest concentration of bronze daggers is found in the Geum River valley of South Chungcheong province. Away from this area, the daggers become progressively fewer. This appears to indicate that most daggers were produced in the Geum valley, and the other cultures of the peninsula acquired them primarily by trade. Trade also took place by sea, with artifacts from the Later Phase found in Japanese archeological sites as well.
Lee divides this phase into two distinct sections: one dating to the 3rd century BCE in which the production of slender bronze daggers predominated, and one dating to the 2nd century BCE in which daggers are often accompanied by bronze mirrors with geometric designs and halberds influenced by the Chinese . In the first part, a single pottery culture typified by clay-band applique is found throughout the Korean peninsula, but in the second part distinctive pottery types emerge in the northwest and the remainder of the peninsula.
The disappearance of the Liaoning bronze dagger culture from Manchuria appears to coincide with the State of Yan's conquest of that area.
The Korean bronze dagger culture of the Later Phase appears to correspond with the state of , which occasionally enters Chinese annals as a contemporary of Wiman Joseon. Lee views this as the period of emergence of the "walled-town states" in Korean culture, a hierarchical political structure in contrast to the tribal system which had prevailed during the Neolithic period.
Lee considers that the culture is properly divided into five phases: Phases I and II typified by violin-shaped daggers, Phases IV and V by slender daggers, and Phase III by the transition between the two. Of these, remains from Phases I, II and III can be found in some amounts in both the Korean peninsula and Manchuria, but remains from Phases IV and V are found almost exclusively in Korea.
Violin-shaped daggers
The early phase consists of an early period of bronze manufacture without daggers, followed by a period of producing violin-shaped daggers. The prime period of production of violin-shaped daggers is dated to the and centuries BCE.
The earliest artifacts from this period are found exclusively in Manchuria, and seem only gradually to have spread to the Korean peninsula. By Lee's Phase II, however, a distinctive notched form of dagger begins to emerge in southern Korea, suggesting that by this time independent bronze production had begun in that region.
Evidence gained from pottery indicates that the bronze dagger "culture" of this time actually included several distinct cultural groups. One distinct pottery tradition is found in Manchuria and northwestern Korea, another in the Taedong River valley, another in the southwest around the Chungcheong provinces including the Geum River, and yet another throughout the rest of the southern Korean peninsula including Jeju island.
Slender daggers
This later part of the Liaoning bronze dagger culture is often referred to as the "Korean bronze dagger culture," since it was largely restricted to the Korean peninsula. At this point the Liaoning culture artifacts begin to disappear from the Manchurian area. A new form of dagger begins to turn up on the Korean peninsula, straight and slender.
The greatest concentration of bronze daggers is found in the Geum River valley of South Chungcheong province. Away from this area, the daggers become progressively fewer. This appears to indicate that most daggers were produced in the Geum valley, and the other cultures of the peninsula acquired them primarily by trade. Trade also took place by sea, with artifacts from the Later Phase found in Japanese archeological sites as well.
Lee divides this phase into two distinct sections: one dating to the 3rd century BCE in which the production of slender bronze daggers predominated, and one dating to the 2nd century BCE in which daggers are often accompanied by bronze mirrors with geometric designs and halberds influenced by the Chinese . In the first part, a single pottery culture typified by clay-band applique is found throughout the Korean peninsula, but in the second part distinctive pottery types emerge in the northwest and the remainder of the peninsula.
Historical identity
The disappearance of the Liaoning bronze dagger culture from Manchuria appears to coincide with the State of Yan's conquest of that area.
The Korean bronze dagger culture of the Later Phase appears to correspond with the state of , which occasionally enters Chinese annals as a contemporary of Wiman Joseon. Lee views this as the period of emergence of the "walled-town states" in Korean culture, a hierarchical political structure in contrast to the tribal system which had prevailed during the Neolithic period.
Erlitou culture
The Erlitou culture is a name given by archaeologists to an Early Bronze Age urban society that existed in China. The culture was named after the site discovered at Erlitou in Yanshi, Henan Province. The culture was widely spread throughout Henan and Shanxi Province, and later appeared in Shaanxi and Hubei Province. Most Chinese archaeologists identify the Erlitou culture as the site of the Xia Dynasty, while most Western archaeologists remain unconvinced of the connection between the Erlitou culture and the Xia Dynasty since there are no extant written records linking Erlitou with the official history.
Discovered in 1959, Erlitou is the largest site associated with the Erlitou culture at 3 km?. Erlitou monopolized the production of ritual bronze vessels. After the rise of the Shang Dynasty, the site at Erlitou greatly diminished in size, but remained inhabited during the early phase of the Shang Dynasty.
The Erlitou culture may have evolved from the Longshan culture. Originally centered around Henan and Shanxi Province, the culture later spread to Shaanxi and Hubei Province.
Discovered in 1959, Erlitou is the largest site associated with the Erlitou culture at 3 km?. Erlitou monopolized the production of ritual bronze vessels. After the rise of the Shang Dynasty, the site at Erlitou greatly diminished in size, but remained inhabited during the early phase of the Shang Dynasty.
The Erlitou culture may have evolved from the Longshan culture. Originally centered around Henan and Shanxi Province, the culture later spread to Shaanxi and Hubei Province.
Erligang culture
The Erligang culture is the term used by archaeologists to refer to a Bronze Age archaeological culture in China. The primary site was discovered at Erligang, just outside of the modern city of Zhengzhou, Henan, in 1951.
Many Chinese archaeologists believe that Zhengzhou was the site of an early capital, equating the Erligang culture with an early stage of the Shang Dynasty. Most Western scholars, however, have refrained from adopting this view, because unlike the later Anyang settlement, no written records have been found at Erligang to link the archaeological remains with the official history.
The city was surrounded by a large wall with a circumference of almost 7 km. Large workshops were located outside of the city walls, including a bone workshop, a pottery workshop and two bronze vessel workshops. The modern city sits on the remains of the Erligang city, rendering archaeological excavations impossible. Therefore, most of the information about the Erligang culture comes from studying other Erligang sites.
The Erligang culture was centered in the Yellow River valley. Erligang was the first archaeological culture in China to show widespread use of bronze vessel castings. In its early years, the culture suddenly expanded rapidly, reaching the Yangtze River, as evidenced by the large site at Panlongcheng in Hubei. Since Zhengzhou lacked access to local bronze metals, sites like Panlongcheng were probably used to secure distant metal resources. The culture then gradually shrank from its early peak.
The Erligang culture was influenced by the Erlitou culture, as its bronzes developed from the style and techniques of the Erlitou culture. During the Erligang culture, the style of the bronze vessels became much more uniform than under the Erlitou culture; the use of bronze vessels also became much more widespread.
Many Chinese archaeologists believe that Zhengzhou was the site of an early capital, equating the Erligang culture with an early stage of the Shang Dynasty. Most Western scholars, however, have refrained from adopting this view, because unlike the later Anyang settlement, no written records have been found at Erligang to link the archaeological remains with the official history.
The city was surrounded by a large wall with a circumference of almost 7 km. Large workshops were located outside of the city walls, including a bone workshop, a pottery workshop and two bronze vessel workshops. The modern city sits on the remains of the Erligang city, rendering archaeological excavations impossible. Therefore, most of the information about the Erligang culture comes from studying other Erligang sites.
The Erligang culture was centered in the Yellow River valley. Erligang was the first archaeological culture in China to show widespread use of bronze vessel castings. In its early years, the culture suddenly expanded rapidly, reaching the Yangtze River, as evidenced by the large site at Panlongcheng in Hubei. Since Zhengzhou lacked access to local bronze metals, sites like Panlongcheng were probably used to secure distant metal resources. The culture then gradually shrank from its early peak.
The Erligang culture was influenced by the Erlitou culture, as its bronzes developed from the style and techniques of the Erlitou culture. During the Erligang culture, the style of the bronze vessels became much more uniform than under the Erlitou culture; the use of bronze vessels also became much more widespread.
Subscribe to:
Posts (Atom)