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全球拍卖首页 > Sotheby's HK > 中国艺术珍品 > Lot 3610
An extremely rare and important archaic bronze ritual wine vessel and cover, you, Shang dynasty, Yinxu period | 商代殷墟時期 青銅饕餮紋卣
香港 北京时间
2023年04月08日 开拍 / 2023年04月06日 截止委托
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Lot Details Description An extremely rare and important archaic bronze ritual wine vessel and cover, you, Shang dynasty, Yinxu period 商代殷墟時期 青銅饕餮紋卣 h. 28.7 cm Condition report Provenance Collection of Huang Jun (1880-1952), Beijing. Collection of Dr. Anton F. Philips (1874-1951),?co-founder of the Philips Group,?Netherlands. Sotheby's London, 30th March 1978, lot 13. Collection of J.T. Tai (1910-92), New York. Collection of Wahl-Rostagni, Rome. A French private collection. Galerie Christian Deydier, Paris. Sotheby's New York,?21st March 2018, lot 583. Eskenazi Ltd, London. 黃濬（1880-1952年）收藏，北京 安東．飛利浦博士（1874-1951年）收藏，飛利浦集團公司創始人之一 倫敦蘇富比1978年3月30日，編號13 戴潤齋（1910-92年）收藏，紐約 Wahl-Rostagni 收藏，羅馬 法國私人收藏 戴克成，巴黎 紐約蘇富比2018年3月21日，編號583 埃斯卡納齊，倫敦 Literature Huang Jun,?Yezhong pianyu erji?[Feathers from Yezhong series II], vol. 1,?Beijing,?1937, p. 17. Christian Deydier,?Les Bronzes Archa?ques Chinois. Archaic Chinese Bronzes I Xia Shang, Paris, 1995, col. pl. 107. Christian Deydier,?Understanding Ancient Chinese Bronzes. Their Importance in Chinese Culture, Their Shapes, Functions and Motifs, Paris, 2015, p. 83. 黃濬，《鄴中片羽二集》，卷上，北京，1937年，頁17 戴克成，《Les Bronzes Archa?ques Chinois. Archaic Chinese Bronzes I Xia Shang》，巴黎，1995年，彩圖版107 戴克成，《讀懂中國青銅器：文化、形式、功能與圖案》，巴黎，2015年，頁83 Exhibited Archaic Chinese Bronzes from Shang and Zhou Dynasties, Oriental Bronzes Ltd, London, 1989, cat. no. 3. 《Archaic Chinese Bronzes from Shang and Zhou Dynasties》，Oriental Bronzes Ltd，倫敦，1989年，編號3 Catalogue note Classic, yet Individual: A Remarkable Archaic Bronze?You This finely and lavishly decorated bronze wine vessel is both in shape and decoration a perfect representative of the high and , mature ‘Anyang’ style that flourished from the mid-Shang period (c. 1600 – c. 1046 BC) in the then-capital of Yinxu in present-day Henan province. Although it displays the classic proportions of?you?of that period and exhibits the archetypal?taotie?design, it is very rare in its combination of these formal and decorative features, and it is difficult to find close counterparts. The remarkable condition of the piece further adds to its importance in the surviving canon. You?are believed to have been used as wine containers at ancestral rituals. The term, however, can be matched with this shape only since it was used for vessels of this form in the Northern Song (960-1127) catalogue?Kaogutu?(‘Illustrated antiques’), where eight?you?are illustrated and described. Wang Tao writes (Chinese Bronzes from the Meiyintang Collection, London, 2009, p. 62) that ‘in Shang oracle bone inscriptions and Western Zhou bronze inscriptions, we read that a vessel named?you?was employed as a bucket for aromatic wine used for sacrifice’. The character does, however, not occur in inscriptions on the archaic bronze vessels themselves, which may originally have been named differently.? The shape was in use since the later Erligang period (c. 1600 – c. 1400 BC) and can vary a lot, being much taller, cylindrical, square, bearing a long spout, or shaped like an animal with four legs. According to Robert W. Bagley (Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington, D.C., 1987, p. 374), the wine vessels found in the tomb of Fu Hao, consort of King Wu Ding, the only undisturbed royal Shang tomb at Anyang so far, which has been variously dated from 1250 to c. 1200 BC, ‘do not include oval-bodied?you, suggesting that the type did not appear until after the first century of the Anyang period’. The basic form of our vessel, of pointed oval section, which became popular in the 12th and early 11th centuries BC, was modified again in the Western Zhou period (c. 1046 – 771 BC), when its profile became more compact and its oval section more squared. Yet this Shang form itself could be adjusted in so many ways that the variety of forms is breathtaking: contemporary examples can differ in proportion, section and profile, the alignment and shape of the handle, the shape of the knob, and the existence and shape of flanges. In addition, there were of course endless possibilities for how to decorate such vessels. Two basic types seem, however, to be prevalent, one with overall decoration, but differing from our?you?in many respects; the other only partly decorated, but otherwise more closely related. You?with overall decoration are usually of broader, more exaggerated pear shape, the designs executed in higher relief, paired with more prominent flanges and wing-like hooks on either side of the cover. The handle is usually cast with animal heads in the round that hide the loops for attachment, and it may even be attached the opposite way, running from front to back.?You?of this type from the Sackler collection are illustrated in Bagley,?op.cit., pls 64 and 65, with excavated and heirloom counterparts, figs 64.2, 64.3, 64.4 and 64.6. The more ovoid form of the present?you?and its linear decoration are closer to late Shang examples that are lacking the flanges and are decorated only with narrow bands of design around cover, shoulder and foot, leaving the main part of the body plain. On such?you, the handle tends to have simple, openly visible loops without animal masks, seemingly similar to the present piece, although our?you?does bear masks on either side, albeit in miniature. Bagley also illustrates and discusses a range of such more sparsely decorated?you?of the late Shang period from the Sackler collection,?op.cit., pls 68-70, and comparisons, mostly excavated, figs 68.5, 70.2, 70.3, 71.2 and 71.3. The present?you?manifests a very rare combination of form and design. A comparable?you?that — like the present piece — combines features of both types, is illustrated in Higuchi Takayasu & Hayashi Minao,?Fugendō Sakamoto Gorō Chūgoku seidōki seishō / Ancient Chinese Bronzes in the Sakamoto Collection, Tokyo, 2002, pl. 73 (fig. 1): it is similar in shape, has similar flanges and overall linear decoration, but a band of triangles around the cover and its handle is formed like twisted rope. Another related?you, which is lacking its handle, is in the Virginia Museum of Fine Arts, illustrated in?Haiwai yizhen: Tongqi, xu / Chinese Art in Overseas Collections: Bronze?[sic]?II, Taipei, 1988, p. 52 (fig. 2): it also shows similar proportions and similarly shaped flanges with a central hook, and is very similarly decorated but in slight relief, again with triangles replacing the animal design around the cover. This?you?is also illustrated in Bagley, p. 398, fig. 70.1, as a comparison to the sparsely decorated variant, which he suggests must derive from this ‘fully decorated parent type’. Two further?you?may be mentioned as comparisons, with similar overall decoration in low relief on a plain ground, without?leiwen?background, one with a rope-twist handle, from Shandong, illustrated in Jessica Rawson,?Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington, D.C., 1990, p. 505, fig. 70.3, but attributed to the Shang dynasty; the other from the collection Earl Morse, almost identical to the last, but having lost its handle, sold in our London rooms, 14th November 1972, lot 227. The large-scale?taotie?design on the present bronze displays the fully developed style of this motif, with C-shaped horns, pointed ears, and inward-curved fangs. It extends into a body on either side of the central flange, so that it can be interpreted either as a single mask facing the viewer or as two?kui?dragons in profile, facing each other. Vadime Elisseeff, who discusses the development of this design in ‘A?Lei?in the Musée Cernuschi Collection’,?Orientations, August 1992, p. 48, illustrates a very similar?taotie?motif, but with outward bent fangs. Related?taotie?masks as well as similar dragon motifs as seen on the shoulder and cover of our?you, with open jaws and with down-pointing snouts, can already be seen on bronzes from the tomb of Fu Hao, see?Yinxu Fu Hao mu/Tomb of Lady Hao at Yinxu in Anyang, Beijing, 1980,?passim, both executed in this distinctive flat linear style and with design elements raised in relief an unusual technique in common with our?you. A?you?of more slender form but closely related design and structure excavated from tomb 1022 at Xibeigang, Anyang, and now in the collection of the Insitute of History and Philology, Academia Sinica and dated to the first half of the Yinxu period is illustrated in?King Wu Ding and Lady Hao, Art and Culture of the Late Shang Dynasty,?Palace Museum, Taipei, 2013, pl. III-4, p. 130. A?ding?tripod vessel with similar?taotie?and dragon designs in linear relief is illustrated in Christian Deydier,?Les Bronzes Archaiques Chinois,?op.cit., p. 85, and another similar?taotie?mask can be seen on a 12th-century?lei?from the Sackler collection, Bagley,?op.cit., pl. 8. The distinguished provenance of the present?you?can be traced back to the first half of the last century. Huang Jun (1880-1952) was a Beijing art dealer, who in the 1930s and ‘40s published several bronze catalogues. Dr. Anton F. Philips (1874-1951) was co-founder of the Philips Group of companies that started in Eindhoven in The Netherlands as a light bulb factory. An observatory in his hometown, which he donated, is still named after him, the Dr. A.F. Philips Sterrenwacht. The important collection of archaic Chinese bronzes and other works of art that he had assembled, was sold in our London rooms in 1978. Tai Jun Tse (J.T. Tai, 1910-1992) was one of the major Chinese art dealers of the 20th century, who started working at his uncle’s antique shop in Wuxi, Jiangsu province, in around the late 1920s, opened his own shop in Shanghai in the 1930s and moved to New York in 1950 to open a gallery there. For decades he remained one of the major suppliers of America's great collectors, among them Avery Brundage and Arthur M. Sackler. 居中正而卓殊：青銅饕餮紋卣 此青銅蓋卣器形經典，鑄工精美，紋飾瑰麗，比例勻稱，束頸垂腹，飾饕餮紋，輔以繁複裝飾，兩相呼應，華美絕倫，品相尤佳，實為罕珍。商代中葉，「安陽風格」青銅器於殷都（今河南省）地區始漸興盛，本品即為此風格成熟至高之典例。 卣乃祭祀酒器，興於商周。北宋金石著作《考古圖》中曾錄八件青銅卣，其後「卣」即特指此類盛酒禮器。汪濤於其著作中曾指出，商代甲骨文及西周青銅器銘文中均有提及：「卣」為一種桶形容器，用以盛放香酒，供祭祀之用（見《中國銅器》，倫敦，2009年，頁62）。然「卣」字卻未曾見於青銅卣之銘文，可知此器或曾用他名。 卣之器形始見於二里崗後期，其形多變，可高，可圓，可方，可帶流，亦有四足獸形器身。本卣器形興於公元前十二世紀至十一世紀初期，器身橢圓，扉棱形尖。西周時稍見變化，其身微扁，其形見方。此類卣商代器形已見多變，器身、提樑、蓋鈕、出戟等，比例形狀皆富變化；紋飾種類更為多樣。其中兩類似為主流：其一通體紋飾，然其他特徵與本卣有所不同；其二器身雖部分飾紋，卻與本卣關聯更為密切。 通體飾紋之卣，常見梨形器身，寬腹，紋飾浮雕立體，出戟明顯，蓋兩側見翼形鉤上翹。提樑與卣身連接處飾以獸首，以掩蓋突起之鉤環，甚或由前至後反向連接。賽克勒收藏中見此類卣器兩例，載於貝格立，前述出處，圖版64及65，另可比較出土及傳世之相關卣例，圖版64.2、64.3、64.4及64.6。 本卣更形橢圓，紋飾以線條勾勒為主，與前文所述第二類晚商卣更為相近，該器形並無出戟，窄條狀紋飾僅見於蓋、肩及足部，器身主體素白無紋。提樑與卣身銜接處鉤環亦無獸面裝飾，與本卣相似。本卣唯一稍異之處即為滿布卣身之饕餮獸面紋。貝格立亦曾收錄賽克勒收藏中此類紋樣之晚商卣例，前述出處，圖版68至70，另可比較之相關例，多為出土，圖版68.5、70.2、70.3、71.2 及71.3。 綜上可知，本卣之器形與紋飾結合甚為罕見，似將兩類晚商卣器特徵相融。可比一類例，錄於樋口隆康與林已奈夫，《不言堂阪本五郎：中國青銅器清賞》，東京，2002年，圖版73（圖一）。該例與本卣之器形、出戟、紋飾等均較為相似，不同之處為卣蓋飾三角紋一圈，及其索狀提樑。 弗吉尼亞藝術博物館亦藏一相關例，提樑缺失，載於《海外遺珍．銅器續》，台北，1988年，頁52（圖二）。該例與本卣之器形比例、出戟形狀及紋飾皆較相近，然紋飾浮雕較淺，蓋亦見三角紋而非本卣之獸面紋。貝格立亦將此例與前文所述之部分裝飾類卣相較，並認為此例乃由通體紋飾類卣器演變而來，錄於貝格立，前述出處，頁398，圖70.1。 另有兩類例可茲比對，整體紋飾相近，浮雕淺刻，素地無雷文，其一見索狀提樑，出土於山東，定為商代，載於羅森，《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，華盛頓，1990年，頁505，圖70.3；其二為 Earl Morse 收藏，與前例極為相似，提樑缺失，售於倫敦蘇富比1972年11月14日，編號227。 本卣器身所飾饕餮紋風格成熟，彎角尖耳，獠牙內旋，並沿中間出戟對稱分佈於器身兩側，既可整體視為雙目直觀之獸面，亦可分別視作兩條夔龍相對，以側面示人。Vadime Elisseeff 於其文中談及饕餮紋之發展演變，並載一獠牙外翻之相似饕餮紋例，於，《Orientations》，1992年8月，頁48。本卣肩部及蓋所飾之饕餮紋及龍紋獸爪張開，口鼻朝下，輪廓均以線條勾勒，紋飾突起，此特徵頗為特殊，然已見於婦好墓出土之青銅器，見《殷墟婦好墓》，北京，1980年，書中各處均有類例。參考一卣例，殷墟前期，長頸沉腹，紋飾結構與本品近類，安陽西北岡1022號墓出土，現藏中央研究院歷史語言研究所，載《武丁與婦好：殷商盛世文化藝術特展》，故宮博物院，台北，2013年，圖版III-4，頁130。另見一紋飾風格相似之三足鼎例，錄戴克成，《Les Bronzes Archaiques Chinois I: Xia Shang》，巴黎，1995年，頁85；賽克勒收藏中亦見一饕餮紋相似之罍例，載於 Bagley，前述出處，圖版8。 本卣來源顯赫，流傳有序，可溯至上世紀前葉。黃濬（1880-1952年）為北京古董商，並於上世紀三十至四十年代間出版青銅器注錄數本。 安東．飛利浦博士（1874-1951年）為飛利浦集團公司創始人之一。公司前身為位於荷蘭埃因霍溫的一家燈泡工廠。埃因霍溫現仍保留飛利浦博士所捐贈，並以其名字命名的一座天文觀測台。飛利浦博士所藏重要青銅器及其他藝術品曾於1978年售於倫敦蘇富比。 戴潤齋（1910-92年）為二十世紀著名中國藝術品古董商之一，早年在江蘇無錫其叔父所開古董店內當學徒，後在上世紀二十年代末於上海開設自己的古董店，五十年代又移居紐約開店。戴氏數十載縱橫古董界，曾為諸多美國顯赫藏家提供中國藝術品，其中包括布倫戴奇及亞瑟．賽克勒等。

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