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全球拍卖首页 > Sotheby's > 中国艺术珍品 > Lot 1
An extremely rare pair of archaic bronze ritual food vessels (Ding), Late Shang dynasty | 商末 子龔鼎一對
美国 北京时间
2021年09月21日 开拍 / 2021年09月19日 截止委托
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拍品描述 翻译
An extremely rare pair of archaic bronze ritual food vessels (Ding)
Late Shang dynasty
商末 子龔鼎一對
each finely cast with the deep U-shaped body rising from three tall cylindrical legs to an everted rim surmounted by a pair of upright handles, crisply decorated around the exterior with three pairs of taotiemasks against a leiwenground, each detailed with bulging eyes and centered by a vertical flange, all above a row of pendent cicada motifs, both vessels cast to the interior with a two-character inscription in mirror image reading Zi Gong, the surface with light malachite encrustation
(2)
銘文：
子龔
Height 6? in., 16.5 cm Private Collection.
Christie's New York, 22nd March 1999, lot 188.
來源
私人收藏
紐約佳士得1999年3月22日，編號188
Mirroring China's Past. Emperors, Scholars, and Their Bronzes,Art Institute of Chicago, Chicago, 2018, cat. nos 22 and 23 and p. 242 (inscription).
展覽
《吉金鑒古》，芝加哥藝術博物館，芝加哥，2018年，編號22及23及頁242（銘文） Both ding are in overall good condition with expected wear, consistent with age. X-Ray available upon request.
一對鼎均整體品相良好。見正常磨損，與其年代相符。X光片可供索取。
For more information on and additional videos for this lot, please contact 
Pair of Zi Gong (Prince Gong) DingRegina Krahl
Pairs of archaic bronze vessels are very rarely preserved together and the present pair is particularly remarkable since the inscriptions seem to be deliberately rendered partly in mirror image, thus making these two vessels a true complementary pair. 
Bowls on three pointed legs were among of the earliest pottery vessels produced in China’s Neolithic period, almost eight thousand years ago. In the Bronze Age, various tripod forms were devised of which the present 
version–a globular bowl with two handles, supported on three sturdy legs–was a particularly satisfactory, functional as well as beautiful solution. It answers the needs to raise a receptacle above a fire source, to place it firmly on uneven ground, and to suspend it for carrying, and its profile is designed to harmoniously juxtapose rotund and rectilinear elements. One of the most important types of China’s ritual bronzes, tripod vessels of 
shape such as this pair represent one of the most fundamental Chinese vessel forms. Its unmistakable association with antiquity made the shape an absolute classic in later dynasties, when it inspired potters of many periods and regions, even though with its tall legs it is not ideally suited to reproduction in ceramics. As incense burners, vessels of 
form belonged to the regular repertoire of the manufactories at Longquan in Zhejiang in the Southern Song (1127-1279), at Jingdezhen in Jiangxi in the late Ming (1368-1644), and at Dehua in Fujian in the Qing dynasty (1644-1911).
Form and design of the present pair show the characteristic features of the Anyang period, the period when Anyang was capital of the Shang (c. 1600-1046 BC). Their fine linear design is executed flush with the surface from which only the eyes and central ridges of the three masks protrude. The masks themselves are emphasized by being left largely plain among the dense scrollwork bands, as if rendered in reserve.
A very similar but smaller pair of 
as well as a single exemplar, all inscribed with the owner’s name, were included in the lavishly furnished tomb of Fu Hao at Anyang, consort of Shang King Wu Ding, datable around 1200 BC; see Yinxu Fu Hao muTomb of Lady Hao at Yinxu in Anyang, Beijing, 1980, pl. 11: 3 and 4; and Yinxu qingtong qiBronze Vessels from Yin Xu, Beijing, 1985, fig. 7: 5 and fig. 33: 3 (fig. 1).
One other similar pair of 
is recorded, with only minor differences in the decoration, in the Royal Ontario Museum, Toronto, illustrated in Royal Ontario Museum. The T. T. Tsui Galleries of Chinese Art, Toronto, 1996, pl. 12 (fig. 2). Otherwise the design appears to be known only from single vessels, such as a 
sold in our Hong Kong rooms, 16th November 1973, lot 18, later at J.J. Lally, New York, and at Christie’s New York, 20th March 2014, lot 2009. A related 
from the collection of Lord Cunliffe has the design band centered on a single eye motif instead of masks, see William Watson, Ancient Chinese Bronzes, London, 1962 (rev. ed. 1977), pl. 13b, and Parke Bernet, New York, 5th November 1977, lot 57.
The present pair of vessels is recorded since 1957 and its inscriptions are included in many publications. Reading ‘zi gong’, the inscriptions comprise the graphs for ‘son’, 
and ‘to offer as tribute’, gong, but are here probably used as a title and name, ‘Prince Gong’. They are written with the pictographic ‘dragon’ 龍 element in the graph gong 龔 drawn in mirror image on the two vessels, the confronting pair of dragons emphasizing the firm bond between the twin vessels.
子龔雙鼎康蕊君
青銅器成對者存世極罕，而本對鼎器鑄同銘，且銘文左右相對成鏡面像，更可謂彌足珍貴，實數稀珍。
三足之器，為中國新石器時代最早的陶器器形之一，可追溯至約八千年前。在青銅時代，各種三足器形出現，如本鼎作圓形腹，帶雙耳，三柱足，兼顧實用與美觀，既可置於火源上方，立於不平整的地面，亦可懸掛攜帶，其設計更將方圓併置，匯通和諧。三足鼎在中國青銅禮器中是最為重要的品類之一，如本品器形之鼎更屬其中經典，為歷代諸朝傳承效仿。即便高足器形並非理想的瓷器製作典範，它卻仍舊啟發影響著各地、各時期瓷匠的創作。南宋浙江龍泉窰、晚明江西景德鎮、清代福建德化 ，均曾燒製仿青銅鼎式的香爐。
本對鼎器形及紋飾特徵屬殷墟時期。鼎身紋飾精細異常，頸部飾三組獸面紋，以雲雷紋襯底，疏密有致，莊正大氣。
可參考一對鼎例，與本對非常相似，但尺寸略小，以及一單鼎作例，皆帶銘文，均出自安陽婦好墓。婦好，商帝武丁之妻，其陵墓裝飾奢華瑰麗，斷代約公元前 1200 年左右。參考《殷墟婦好墓》，北京，1980年，圖版11:3及4；及《殷墟青銅器》，北京，1985年，圖 7:5及圖33:3（圖一
比較另一對鼎例，與本品紋飾差別細微，現藏於多倫多皇家安大略博物館，圖載於《皇家安大略省博物館：徐展堂中國藝術館》，多倫多，1996年，圖版12（圖二）。除此之外，同類紋飾者僅見於單鼎作例，其一售於香港蘇富比1973 年 11 月 16 日，編號18 ，後易手於紐約藍理捷，之後再售於紐約佳士得2014 年 3 月 20 日，編號 2009。另比一例，出自Cunliffe勛爵收藏，參考William Watson，《Ancient Chinese Bronzes》， 倫敦 ，1962年（1977年再版），圖版13b，並售於蘇富比Parke Bernet，紐約，1977 年 11 月 5 日，編號 57。
此對鼎於1957年已見經出版，其銘文更是被多部金石著作所收錄。鼎鑄銘文「子龔」二字，或為人名或為族氏，其作器者或為商末王子。兩鼎之銘「龔」字上半部為「龍」，雙龍相對，左右對稱，足證此二鼎成對無疑。

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