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Studien Zur Bildpraxis Im Nordchinesischen Steppenraum Vom 5

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Studien Zur Bildpraxis Im Nordchinesischen Steppenraum Vom 5 Studien zur Bildpraxis im nordchinesischen Steppenraum vom 5. Jahrhundert v. Chr. bis zur Zeitenwende Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig-Maximilians-Universität München vorgelegt von Catrin Kost 2011 Erstgutachter: Prof. Dr. Thomas O. Höllmann Zweitgutachter: Prof. Dr. Hans van Ess Tag der mündlichen Prüfung: 14.02.2011 Dank Wie oft hatte ich das Gefühl, dass diese Seite nie geschrieben werden würde. Dass es nun doch endlich soweit ist, verdanke ich zahlreichen Personen, Institutionen und Ereignissen, die ich hier gerne erwähnen möchte: Zuerst genannt sei mein Doktorvater Herr Professor Thomas O. Höllmann, der meine Arbeit durch alle Sinn-, Material- und Relevanzkrisen geduldig begleitete und unterstützte und mir immer mit Rat und Tat zur Seite stand. Herzlichen Dank dafür! Bedanken möchte ich mich auch bei Herrn Professor Hans van Ess, der sich bereit erklärte als Zweitkorrektor zu fungieren. Das von der DFG geförderte Graduiertenkolleg „Bild, Körper, Medium. Eine anthropologische Perspektive.“ unterstütze meine Forschungen im Zeitraum von 2006– 2009 großzügig mit einem Stipendium und machte im Zuge dessen nicht nur einen interdisziplinären Austausch, sondern auch zahlreiche Studien- und Forschungsreisen möglich. Für spannende Diskussionen und zahlreiche Literaturtips bin ich dem Gründer Professor Hans Belting, dem Sprecher Professor Beat Wyss, dem Koordinator PD Martin Schulz, vor allem aber den Kollegiaten zu großem Dank verpflichtet. Hervorheben möchte ich hier Carsten Juwig M.A., mit dem ich im Anschluss an unser gemeinsam mit PD Annette Haug organisiertes Kolloquium „Bilder in der Archäologie – eine Archäologie der Bilder?“ den gleichnamigen Konferenzband in der Reihe der Tübinger Archäologischen Taschenbücher herausgegeben habe. Dem Mitbegründer der Reihe – Herrn Professor Manfred K. H. Eggert – sei für das in uns gesetzte Vertrauen sowie für seine Teilnahme am Kolloquium mein Dank ausgesprochen. Gemeinsam mit den anderen Teilnehmern hat er wertvollen Input gegeben, der auch in diese Arbeit Eingang gefunden hat. Mit Freude erwähne ich auch das Mentoring-Programm der Ludwig-Maximilians- Universität, „LMU Excellent“, in das ich bei seiner Gründung im Jahre 2007 aufgenommen wurde. Dieses finanzierte u.a. die grundlegende Karte, auf der alle Kartierungen in Band 2 basieren. Für ein stets offenes Ohr sowie seelische und moralische Unterstützung danke ich meiner Mentorin Frau Prof. Irene Götz, für ihre Hilfe durch den Dschungel der Bürokratie Manuela Sauer und Nina Rätschi. Graduiertenkolleg und Mentoringprogramm ermöglichten mir Konferenzteilnahmen und Forschungsreisen u.a. in die Volksrepublik China (Ordos), die Mongolei (Ulan Bator), nach Russland (St. Petersburg) und in die Vereinigten Staaten (Pittsburgh; New York). Dies bot eine exzellente Gelegenheit, persönliche Kontakte zu renommierten Wissenschaftlern wie Professor Katheryn M. Linduff (Pittsburgh), Emma C. Bunker (Denver) und Professor Bryan K. Hanks (Pittsburgh) zu knüpfen, Fragen zu stellen und Diskussionen zu führen. Für einen regen fachlichen Austausch in Deutschland bin ich Doktor Ursula Brosseder (Bonn) zu großem Dank verpflichtet, die meinen „chinesischen Blick“ häufig um die „sibirische Komponente“ ergänzte. Jennifer Bagley und Elisa Rossberger danke ich für zahlreiche Gespräche über bildwissenschaftliche Theorien und deren Anwendbarkeit in der Archäologie, Hendrik Kelzenberg für seine stete Diskussionsbereitschaft. Meinen Eltern gilt mein aufrichtiger Dank für Vieles, vor allen Dingen aber dafür, dass sie es mir – auch nach dem Auslaufen meines Stipendiums – ermöglichten, meine Doktorarbeit in Ruhe zu beenden. Constanze Gillmann, Stephan Kempers und Cornelia Gloger danke ich dafür, dass sie auch in den Momenten an mich geglaubt haben, als es mir selbst schwer fiel. Ohne Euch wäre diese Arbeit nicht beendet worden – Danke! INHALT Einleitung..............................................................................................................................1 1. Theoretische und methodische Vorüberlegungen zu Bildern............................................7 1.1. Bilder und Bildobjekte – der Versuch einer Annäherung...........................................9 1.2. Das Medium als Botschaft?.......................................................................................12 1.3. Agenten, Speichermedien, Abbilder, Symbole – das Bild von den Bildern.............14 2. Zur Vorgehensweise in dieser Arbeit ...............................................................................24 3. Zur Forschungsgeschichte.................................................................................................26 3.1. Spätes 19. Jahrhundert bis frühes 20. Jahrhundert – die Entstehung der ersten Sammlungen....................................................................................................................27 3.2. 1935 bis 1960 – die frühe Erschliessung von Sammlungen und die Frage nach dem Ursprungsort der Objekte................................................................................................28 3.3. 1960 bis heute – die ersten archäologischen Ausgrabungen und ihre Auswertung..29 3.4. Die figürliche Kunst der nordchinesischen Steppe – bedeutungserfüllt oder l´art pour l´art?........................................................................................................................32 4. Definition des Arbeitsgebietes..........................................................................................37 4.1. Topographie und aktuelle klimatische Gegebenheiten.............................................38 4.2. Paläoklima.................................................................................................................39 5. Das Arbeitsgebiet unter archäologischen Gesichtspunkten..............................................42 5.1. Südlich des Manhan – die Maoqinggou-Kultur.......................................................44 5.1.1. Verbreitungsgebiet und Datierung....................................................................44 5.1.2. Grabform und Bestattungssitten.......................................................................45 5.1.3. Bemerkungen zu Objektgruppen......................................................................47 5.1.4. Subsistenzgrundlage und ethnische Identifizierung..........................................48 5.1.5. Austausch mit benachbarten Kulturen.............................................................49 5.2. Im Ordos-Gebiet – die Taohongbala-Kultur...........................................................50 5.2.1. Verbreitungsgebiet und Datierung....................................................................50 5.2.2. Grabform und Bestattungssitten.......................................................................51 5.2.3. Bemerkungen zu Objektgruppen......................................................................52 I 5.2.4. Subsistenzgrundlage und ethnische Identifizierung..........................................54 5.2.5. Austausch mit benachbarten Kulturen.............................................................55 5.3. Südliches Ningxia und östliches Gansu – die Yanglang-Kultur...............................57 5.3.1. Verbreitungsgebiet und Datierung....................................................................57 5.3.2. Grabform und Bestattungssitten.......................................................................58 5.3.3. Bemerkungen zu Objektgruppen......................................................................59 5.3.4. Subsistenzgrundlage und ethnische Identifizierung..........................................61 5.3.5. Austausch mit benachbarten Kulturen.............................................................61 5.4. Das Reich der Xiongnu............................................................................................62 5.4.1. Verbreitungsgebiet und zeitliche Einordnung...................................................63 5.4.2. Grabformen und Bestattungssitten...................................................................65 5.4.3. Bemerkungen zu Objektgruppen......................................................................66 5.4.4. Subsistenzgrundlage..........................................................................................68 5.4.5. Herkunft und ethnische Zugehörigkeit.............................................................69 5.5. Kontakte zwischen dem nordchinesischen Steppenraum und der Dian-Kultur?....70 6. Der historische Kontext....................................................................................................73 6.1. In guten wie in schlechten Zeiten – das wechselhafte Verhältnis von Chinesen und Barbaren in den Schriftquellen........................................................................................74 6.2. Wilde Tiere und Könige der Linken und Rechten – das Bild der nördlichen Völker in den Schriftquellen........................................................................................................83 6.3. Zwischen Konkretheit und Imagination – Überlegungen zur Aussagekraft der Schriftquellen...................................................................................................................89 7. Erläuterung der Materialbasis u. d. Kriterien zur Einführung von Qualitätsgruppen....92 7.1. Qualitätsgruppe 1 A.................................................................................................93 7.2. Qualitätsgruppe 1 B..................................................................................................93
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