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在中国古代的器物图中(如刘敞《先秦古器记》、吕大临《考古图》、《宣和博古图》中摹绘的图形),并不重视石器,也没有石器图,只有“彝器”(即青铜礼器)。考古绘图中的石器图,是随着作为考古学基础的田野考古的产生、发展而同步产生、发展的。在大量的实践工作基础上,它不断吸收和借鉴了两方面的东西而逐渐充实与完善:其一是自然科学技术的理论、方法与成果,其二是中西艺术的理论、观点与表现方法。当然,随着实践和研究工作的发展,它也会继续向前发展。石器的具体画法问题,从认识论的观点来看,是“观察——分析——表现”。它贯穿
In the ancient Chinese artifacts (such as Liu Chuan “Ancient Chronicles of Annotations”, Lu Dali “Archeology” and “Xuan He Bogut”), we did not pay much attention to stone tools and stone tools. Only “ Yi device ”(that is, bronze vessels). The stone figures in the archeological drawings are produced and developed synchronously with the emergence and development of field archeology which is the basis of archeology. Based on a great deal of practical work, it constantly absorbs and draws lessons from two aspects and gradually enriches and improves it: one is the theory, method and achievement of natural science and technology; the other is the theory, view and expression of Chinese and Western art. Of course, as practice and research work progresses, it will continue to move forward. The concrete painting of stone tools, from the epistemological point of view, is “observation - analysis - performance ”. It runs through