Page 152 - 2019 September 10th Sotheby's Important Chinese Art Junkunc Collection
P. 152

The present lot illustrated in the
                                                                          auction catalogue Objets d’Art de Chine
                                                                          appartenant au Marquis de Ganay, Hôtel
                                                                          Drouot, Paris, 7th May 1952, lot 56.
                                                                          本品載於拍賣圖錄《Objets d'Art de Chine
                                                                          appartenant au Marquis de Ganay》,Hôtel
                                                                          Drouot,巴黎,1952年5月7日,編號56


























                      by diagonal bands with intricate gold inlay, designated ‘Important Cultural Property’, formerly in the
                      collection of Baron Hosokawa and now in the Eisei Bunko, Tokyo, is illustrated in Zhongguo meishu quanji.
                      Qingtongqi, Beijing, 1991, vol. 2, pl. 107; a bronze fanghu from the collection of Adolphe Stoclet, also with
                      glass inlay between diagonal bands with silver inlay and gold bosses, was included in the International
                      Exhibition of Chinese Art, Royal Academy of Arts, London, 1935, cat. no. 406 (fig. 1); and another related
                      glass-inlaid gilt and silvered bronze hu recovered from the tomb of prince Liu Sheng of the Western Han
                      dynasty in Mancheng, Hebei province, is illustrated in Out of China’s Earth. Archaeological Discoveries in
                      the People’s Republic of China, London, 1981, pl. 191. With lozenge-shaped plaques divided by diagonal
                      bands and with bosses in the center of quatrefoil florets at the intersections, the design of the present
                      bianhu is stylistically closely related to these lavishly inlaid bronze vessels.


                      Somewhat simpler designs of lozenge-shaped fields between diagonal bands, intersected with raised
                      bosses, can also be found on three metal-inlaid bronze fanghu: one in the Asian Art Museum of San
                      Francisco, illustrated in Jenny So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections,








                      另一例為鐵釜,頁125,圖58:2。本壺裝飾工藝極盡              銀雲紋及乳釘紋,被定為「重要文化遺產」,屬細
                      華富,巧妙融合不同的材質於一身,綠松石、銀鎏                  川男爵舊藏,現收藏於東京永清文庫,載圖於《中國
                      金、銀、銅鎏金及骨,形成繁複的幾何圖案,足證                  美術全集:青銅器(下)》,北京,1991年,圖版
                      其主的財富及極高的社會地位。                          107;Adolphe  Stoclet亦收藏一方壺例,展於《中國
                                                              藝術國際展覽會》,皇家藝術研究院,倫敦,1935
                      隨著周代王室權力的不斷減弱以及創新農業技術的                  年,編號406(圖一);另外一件銅壺例出土於河北
                      興起,同時期各諸侯國開始變得愈加富裕及強大。                  滿城西漢中山靖王劉勝墓,載圖於《Out  of  China’s
                      因此一些富麗奢華的銅器不僅在位於舊時東都的洛                  Earth. Archaeological Discoveries in the People’s
                      陽金村墓群有所出土,亦可見於一些非與周代君王                  Republic  of  China》,倫敦,1981年,圖版191。鑑
                      相關的墓葬遺址(包括河南輝縣魏王室墓、河南平                  觀本品扁壺的整體裝飾風格,與以上所列舉的銅壺作
                      城中山王墓以及湖北楚墓)。參考一銅壺例,據傳                  例概為相近。
                      為金村出土,壺身飾帶狀方格紋嵌渦紋琉璃,配錯








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