中國約於距今八千年開始出現玉器，直到新石器時代晚期出現高峰期，如遼寧、內蒙地區的紅山文化晚期，安徽含山凌家灘文化，東南太湖流域周邊的良渚文化，山東地區龍山文化、湖北石家河文化、甘肅齊家文化等，出土的玉器數量非常多，造形多元化，故有學者提出「玉器時代」一詞。本文以距今四千至五千多年左右的新石器時代晚期玉器為主，著眼於玉筒形器、玉琮、玉璜、玉人、玉鳥等幾類玉器的造形與紋飾，探討此期玉器形紋的形紋創意設計及其美學藝術的創意思維。筆者將從省工省料、方圓之美、紋飾佈局、對稱均衡、抽象創新、寫實傳神、鏤空之美等形紋設計法則來探討新石器時代玉器的設計、製作與美學。 The jade has been discovered in China about 8000 years ago and the climax of it appeared in the late Neolithic Age such as Hongshan Culture in Liaoning Province and east of Inner Mongolia, Linjitan Culture in Anhui Province, Liangzhu Culture in the China southeast area, Lungshan Culture in Shandong Province, Shihchiaho Culture in Hubei Province and Chichia Culture in Gansu Province. There was such a great deal of jade excavated during that time that the scholars came up with the noun of “Jade Time”. This paper will focus on the jade in the late Neolithic Age roughly 4000~5000 years ago and put emphasis on the shape and stripe of jade Cong, jade Hung,jade Figure, jade Dragon and jadeBird in order to discuss the creative design of the jade shape and stripe and the thought of esthetics and art during that time. The author will discuss the design, making and esthetics from the design rules of labor-and-material saving, the beauty of square and circle, the spread of stripe, symmetry and balance, abstract and creation, realism and vividness and the beauty of hollow-carved.
