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全球拍卖首页 > Sotheby's > 中国艺术珍品 > Lot 12
An exceptionally rare archaic bronze ritual pouring vessel (He), Eastern Zhou dynasty, Spring and Autumn period | 東周 春秋 青銅獸面紋龍流盉
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 exceptionally rare archaic bronze ritual pouring vessel (He)
Eastern Zhou dynasty, Spring and Autumn period
東周 春秋 青銅獸面紋龍流盉
finely cast with the body divided into three lobes each rising from a slender leg and decorated on each side with a powerful high-relief taotiemask composed of detached elements including phoenix forming the tail and small dragons defining the horns, the shoulder encircled with a narrow border of sinuous scrollwork, repeated around the neck below the flared rim, the long, gently curved slender neck terminating in a dragon mask forming the spout opposite the loop handle issuing from a bovine head
Length 14? in., 35.8 cm Offered at Sotheby's London, 9th December 1986, lot 7.
Sotheby's London, 18th November 1998, lot 804.
來源
上拍於倫敦蘇富比1986年12月9日，編號7
倫敦蘇富比1998年11月18日，編號804 A Flamboyant Pouring Vessel from the South of ChinaRegina Krahl 
Compared with the solemnity of Shang bronzes (c. 1600-1046 BC), vessels of the Zhou dynasty (c. 1046-221 BC) often display a more extravagant side and one cannot help feeling that the craftsmen were more inclined and freer to experiment. A case in point is this extraordinary and extremely rare tri-lobed ewer (he), with its extended spout. The exact function of this shape, as a wine or water vessel, has been much debated and it had been suggested that it was made for pouring wine into smaller goblets such as jue, or that it served for ablutions, in combination with basins (pan). The predominant view today, however, seems to be that it was employed for diluting wine with hot water. In any case, this unconventional form was conceived for careful, controlled pouring. The present heis remarkable not only for its shape but also its high-relief decoration, which includes most unusual detached dragon and bird motifs.
Closely comparable in its form and overall style is the flamboyant hewith fanciful dragon-shaped spout, handle and cover in the Shanghai Museum, designed as if the three animals were emerging from inside the vessel (fig. 1). Like other comparable he, the Shanghai vessel has been variously attributed to the mid- to late or the late Western Zhou (c. 1046-771), to the early, and to the mid-Spring and Autumn period (770-476 BC); see Shen Zhiyu, ed., The Shanghai Museum of Art, New York, 1981, pl. 78; Shanghai Bowuguan. Zhongguo qingtong qi chenlieShanghai Museum. The Chinese Bronze Exhibition, n.p., n.d., p. 29; and Chen Peifen, Ancient Chinese Bronzes in the Shanghai Museum, London, 1995, pl. 51. The current view at the Museum seems to consider it a vessel made in the Yue region of south-eastern China in the mid-Spring and Autumn period, i.e. around the 7th century B.C., stylistically echoing bronze design prevalent in the Central Plain region in the Western Zhou, but transformed into a regional style. A related he, with replaced spout and a more elaborate scrollwork handle, was excavated in Xinyi, Guangdong, and is now in the Guangdong Provincial Museum, Guangzhou, see Peng Qingyun, ed., Zhongguo wenwu jinghua da cidian: Qingtong juan[Encyclopaedia of masterpieces of Chinese cultural relics: Bronze volume], Shanghai, 1995, no. 0723, where it is attributed to the early Spring and Autumn period.
He of similar form, probably slightly earlier in date, have also been excavated from the Chu region of Hunan and Hubei. A vessel with dragon spout, handle and cover, but with low-relief decoration more typical of the Western Zhou period, has been excavated at Longquan village, Huangcai, Ningxiang county, Hunan, is now in the Hunan Provincial Museum, Changsha, and was included in the exhibition Along the Yangzi River. Regional Culture of the Bronze Age from Hunan, China Institute Gallery, New York, 2011, cat. no. 45, where it is attributed to the Western Zhou. A four-legged hewithout cover, with dragon spout and handle, the body decorated with formal scroll designs as known from the Western Zhou, was included in a hoard at Songhequ, Jingshan, Hubei, that can be dated to the early Spring and Autumn period, see Chen Wanxiong, ed., Zhongguo diyu wenhua daxi. Chu wenhua[Great series on Chinese regional cultures. Chu culture], Hong Kong, 1997, pl. 48. A similar covered heis also found in a private collection in Japan, illustrated in Cheng Te-k’un, Archaeology in China, vol. 3: Chou China, Cambridge, 1963, pl. 23a.
Ritual bronze tripod pouring vessels were produced since the Shang period, and by the early Western Zhou a lobed tripod shape not unlike that of the present piece was already popular, but with a straight tubular spout set at a 45-degree angle to the vessel body. A curved dragon-shaped spout was introduced towards the end of the Western Zhou and is also often seen on a related vessel shape, the ying, where the vessel rests either on three visually separated, conical feet or on a ring foot; see Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington, D.C., 1990, vol. IIB, figs 157, 116.7 and 116.10.
Idiosyncratic features among the high-relief decoration of the present heare the figurative motifs above and between the main taotiemasks: the small dragon motifs consist almost only of a head with upturned snout, the body being reduced to a small hook, and the bird motifs show a rather naturalistic crested head with sharp curved beak but an almost geometrically stylized, angular body. Both motifs clearly derive from earlier Western Zhou designs, where similar dragon heads sometimes have a scroll as body, and birds can have a rather similar silhouette, but on this heboth motifs are highly individually interpreted; compare Rawson 1990, vol. IIA fig. 39 bottom left and fig. 64 bottom right, and fig. 107. The dragon motifs on the cover of the Shanghai heare depicted with a very similar head, albeit with a slender curved body. Similar bird and dragon motifs lived on particularly in the Warring States period (475-221 BC) in lacquer wares of the Chu Kingdom, see Chu wenhua, op. cit., pl. 237 for the former, pls. 315 and 355 for the latter.
古風綺綺：青銅獸面紋龍流盉 康蕊君
商代青銅器以莊嚴見著，相比之下，周代青銅器更見奢華，從中可感受到藝匠臻於探索之意趣。而此三足青銅盉，乃當時佳例。 此器究竟用於盛酒或盛水，其功用一直備受爭議，有學者認為，此盉乃為酒器，用以分酒入爵等較小器皿，或盛水則與盤共用於相關儀式。現時主流觀點則似乎認為盉是古人用熱水稀釋酒時所用。無論其功用如何，此器型非比尋常，乃為傾倒液體而製無誤。本品不僅器形出眾，其紋飾亦精美異常，刻畫立體，剛毅有力。
上海博物館收藏一盉例，器形及紋飾與本品極為相近，流、鋬及蓋皆作龍形，有如三龍從器身中幻化而出，精美絕倫（圖一）。該例和其他相近盉例一樣，目前學術界對其斷代有著不同說法，可見斷代西周中末期或末期之說，亦有定春秋初期或中期之論；參考沈之瑜編，《The Shanghai Museum of Art》，紐約，1981年，圖版 78；《上海博物館中國青銅器陳列》，上海博物館，上海，1990年，頁29；以及陳佩芬，《Ancient Chinese Bronzes in the Shanghai Museum》，倫敦，1995 年，圖版51。目前其博物館觀點似乎認為此乃春秋中期，即約公元前七世紀，中國東南部越地所製，風格呼應西周中原青銅器，但更具地域特色。另比一斷代春秋初期之相近作例，流經換，鋬的設計更為繁複，於廣東信宜出土，現藏於廣州廣東省博物館，見彭卿雲編，《中國文物精華大辭典：青銅卷》，上海，1995年，編號0723。
湖南、湖北楚地亦曾出土盉例，器形相近，年代或稍早。湖南省寧鄉市黃材鎮龍泉村出土一件流、鋬及蓋均為龍形作例，紋飾較淺更接近西周典型，現存於長沙市湖南省博物館，曾展於《沿著長江：湖南的古代青銅器》，華美協進社中國美術館，紐約，2011年，編號45，斷代西周。再比一湖北省京山市宋河鎮出土春秋初作例，無蓋、四足，連龍流及龍鋬，見陳萬雄編，《中國地域文化大系 - 楚文化 : 奇譎浪漫的南方大國》，香港，1997年，圖版48。日本私人收藏一相近盉例，連蓋，圖載於鄭德坤， 《Archaeology in China, vol. 3: Chou China》，劍橋，1963年，圖版23a。
用於祭祀儀式之三足青銅斟器於商代已經開始製作，至西周初期，與本品相類的三足器形流行甚廣，然多為直流，與器身成45度角。西周末期，彎曲之龍形流開始出現，亦可見於青銅鎣；見傑西卡?羅森，《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，華盛頓，1990 年，卷IIB，圖157、116.7及116.10。
本品盉一個獨特之處在於其饕餮紋間的輔助紋飾：小型龍紋幾乎僅呈現龍首部分，身體則簡化成鉤狀；鳳鳥紋則由相對寫實風格的鳥首及尖曲喙部組成，鳥身卻極具幾何抽象風格，稜角分明。兩款紋飾明顯源自西周風格，但皆有演化，頗具特色；參考上述羅森著錄，1990年，卷IIA，圖39左下，圖64 右下，及圖107。類似鳥紋及龍紋尤見於戰國時期楚國漆器之上，參見《楚文化》，前述出處，鳥紋如圖版237，龍紋如圖版315及355。

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