從二里頭到二里岡時期以來，黃河、長江兩流或從塊範法的青銅世界中的一元到殷墟早期前後的三元分立之局，害們在用銅概念方面，除了以青銅鑄兵器、工具等共通性外，是以人像、神像、樹、動物或祭壇(？)為青銅的主要鑄形，同時並可能用青銅鑄成裝飾品的三星堆器物坑；以容器為主，但主要偏向人去就「物」的用器行為的江西新淦墓；以及以容器為主，他也強調人以舉物傾倒物的用器行為的婦好墓。我們從其共同的鑄造技術—塊範法的基礎上，發現三地從主體與附件接合的分鑄法中各自發展出相當不同的青銅鑄品的風格，而其根源在三地各有相當不同的用銅根念及對鑄器者的用器行為有相當不同的需求。 本文試圖把四川廣漢三星堆、江西新淦及河南安陽婦好墓三地有關技術的材料放在青銅藝術史的發展脈絡中，以探索藝術、技術、使用資源概念與用器行為之間的可能關係，其望對於商代青銅文明從一元到多元，再演變到不平衡的發展現象與過程等，提供新的視野。

From the Erh-li-t’ou and Erh-li-kang periods to the early An-yang period, the piece-mold casting process used in Yellow and Yangtze River drainage basis diversified from one into three separate regional styles. In terms of their conception of bronze use, the pit at San-hsing-tui reveal, in addition to casting weapons and tools, a focus on casting possible human (or god?) figures, images of trees, animals, and, possibly, sacrificial altars; the site of Hsin-kan, Kiangsi emphasizes shapes of vessels with a focus on the subjugation of man to thing; while the tomb of Fu-hao also emphasizes vessels, but with a focus on man suing thins to overturn things. we discover that, building on a common technological foundation—the use of piece mold casting—the three regions developed very different styles of separately casting and joining primary and subordinate elements. These differences are based on three fundamentally different conceptions of bronze use and on the distinct sets of demands that these three systems of object usage practices placed on casters. The present essay attempts to locate the technological evidence of San-shing-tui in Sichuan, Hsin-kan in Kiangsi, and the tomb of Fu-hao in Honan within the development of bronze art. It also explores the possible relationship between art, technology, concepts of resource usage, and practices of object use. The aim is to provide a new perspective on the pluralization of bronze civilization during the Shang period and the phenomenon and process of the subsequent unequal developments.