近七十年來，商代青銅藝術的區域研究，對「中原地區」的認定，歷經了從代表 「時代風格」到「都邑風格」的過程。相對的，對非中原地區則從「中原進口」，到逐漸建 立「區域特性」，使商代青銅藝術整體發展的視野，從「一元中心」向「多元中心」開展。 唯不同區域間考古與研究的不平衡成果，區域斷代系統標尺建立的精粗，皆使得區域間青銅 文化關係的釐定，在一元與多元？多元但不平衡？傳播與自力發展？開放空間與閉鎖空間？ 單向與多向交流等兩極之間擺動。目前，對商代青銅器的區域研究而言，以一地為中心，從 時空問題到禮制問題，藝術與使用者身分關係問題研究，再與其它區域比較，由「異」中建 立「區域風格」，由「同」中建立「文化關係」，至於由「文化關係」進而論及傳播與影響 關係，內力及外力的釐清及較勁間的決定，則請謹慎慢行，或許不失為目前可行的方向。

　　　　　Over the past 70 years, the definition of "regional style" in the study of Shang bronzes has been used in contrast to China's so-called "Central Plains (Chung-yuan)" style. The appearance of regional characteristics was first employed to indicate the "period style" of the work to one that represented a contrast to the "metropolitan style." Correspondingly, the areas outside of the Central Plains have, in definition, gone from being described as "imports from the Central Plains" to gradually become recognized for their own unique "regional features." As a result, we see how the methodology of modern studies on Shang bronzes has developed from the idea of a "single center" to one with "multiple centers." These two trends have led to various results. The first one is that there has been an imbalance in the archaeological and research work on bronzes from different areas. The second is that the periodization of each area has been noted with differing accuracy. This, first, makes it difficult to determine if an area that yields bronzes is a single center or part of one with multiple centers. Second, if it is determined to be the latter, was it originally a single center that became multiple, or was it multiple and developed unevenly? Third is the question of transmission and influence or whether bronze casting developed on its own. Fourth is the question of whether it was an open or closed space. And, fifth, if there was exchange and influence, is the issue of whether if it was mutual or oneway. Of course, these extremes allow for a wide range of possibilities in between. At present, the study of Shang regional bronzes has mostly focused on individual areas. Such studies have progressed from the question of chronology to the systems under which the bronzes were produced, as well as from focusing on features of style to the status of those who used them. When the bronzes of an area are studied, they are compared with others. Afterwards, differences are noted in order to determine their unique features. Similarities between two may suggest that some sort of "cultural relationship" existed. Then the questions of transmission and influence can be studied at greater depths to determine if the similarities reflect independent features or influences from external sources. Thus, new directions are being constantly opened for the pursuit of scholars in the field of regional bronzes.