Page 51 - 2019 September 13th Christie's New York Important Chinese Works of Art

Fig. 8 Line-drawing of an imperial carriage with dragon-head Fig. 9 A gilt and inlaid-bronze dragon-head-form shaft ftting
terminals from the Song Emperor Gaozong (r. 1127-1162) and Ma for a chariot, Warring States period (475-221 BC). Freer
Hezhi (active 1130-1170), Classics of Piety. Gallery of Art, Smithsonian Institution, Washington, D.C.:
Purchase — Charles Lang Freer Endowment, F1932.14a-c.
圖八 宋高宗（1127-1162年在位）書孝經馬和之繪圖（線描圖）上所
示皇帝寶座及馬車上的龍首飾。 圖九 戰國 鎏金鑲嵌銅龍首車轅末飾
華盛頓特區弗利爾藝術館藏

The Junkunc jade dragon head embodies imperial magnifcence of the highest among the rarest. Even then, the majority are small, two-dimensional personal
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order—the extravagant expenditure of highly valued material on a large sculpture ornaments such as belt plaques, bracelets, and hair and pendant ornaments.
of a dragon, an established emblem of power. Excavated parallels in jade and Few are three-dimensional sculptures like the Junkunc dragon head, and none
pottery, as well as contemporaneous textual and visual records suggest it was is as large. Whether it was made to ornament interior furnishings, carriages, or
created at the height of the Tang-dynasty during the 8th century. Throughout sedans, the Junkunc jade dragon head is a rare and exceptional extravagance
China’s millennia-long history, jade artifacts that survived the Tang dynasty are produced for the most prestigious and powerful individuals in society.

Notes 附註：
1 劉雲輝編著《北周隋唐京畿玉器》T46–49 (重慶：重慶出版社，2000)。
1 After Liu Yunhui ed. Bei Zhou Sui Tang jingji yuqi (Chongqing: Chongqing
chubanshe, 2000) T46–49. 2 劉雲輝， 同上，T111–187。
2 Liu Yunhui. Bei Zhou Sui Tang, T111–187. 3 劉雲輝， 同上，T42–45，長11 X 寬6 X 高5厘米。
3 Liu Yunhui. Bei Zhou Sui Tang, T42–45; dimensions L11 x W6 x H5 cm.
4 周天游主編《盛唐氣象》。 杭州：浙江人民美術出版社，1999，頁33。
4 After Zhou Tianyou ed. Sheng Tang qixiang (Hangzhou: Zhejiang renmin meishu
5 元代例子參見屈志仁等《THE WORLD OF KHUBILAI KHAN: CHINESE ART IN THE
chubanshe 1999), p. 33.
YUAN DYNASTY》。 紐約：大都會藝術博物館，2010，圖96，98。
5 For Yuan examples, see James Watt et al. The World of Khubilai Khan: Chinese Art in
6 薩爾莫尼 (A. SALMONY) 著《CHINESE JADE THROUGH THE WEI DYNASTY》
the Yuan Dynasty (New York: Metropolitan Museum of Art 2010), fgs. 96, 98.
紐約：THE RONALD PRESS，1963，頁193。
6 A. Salmony. Chinese Jade Through the Wei Dynasty (New York: The Ronald Press,
7 楊伯達著《中國玉器全集5》 河北：河北美術出版社，1993，圖66。
1963), p. 193.
7 See Yang Boda ed. Zhongguo yuqi chuanji 5 (Hebei: Hebei meishu chubanshe 1993), 8 SARAH HANDLER撰“THE ELEGANT VAGABOND: THE CHINESE FOLDING
no. 66 ARMCHAIR”，載《ORIENTATIONS》1992年1月，頁95，圖13–14。
8 Sarah Handler. “The Elegant Vagabond: The Chinese Folding Armchair”, 9 圖見孫機著《中國古輿服論叢(增訂本)》。 北京：文物出版社，2001， 頁87，圖6-3-1。
Orientations (January 1992, p. 95), fgs. 13–14. 紅色為本文作者標示。
9 Drawing after Sun Ji. Zhongguo gu yufu luncong, revised edition (Beijing: Wenwu 10 圖見劉永華著《中國古代車輿馬具》。上海：上海辭書出版社，2002，圖207:2。紅色為本
chubanshe 2001), p. 87, fg. 6-3-1, highlights by this author. 文作者標示。
10 Drawing after Liu Yonghua. Zhongguo gudai cheyu maju (Shanghai: Shanghai cishu
11 見孫機， 同註9， 頁44，圖3-17-5–8。
chubanshe 2002) 2002), fg. 207:2, highlights by this author.
12 見EVELYN S. RAWSKI及JESSICA RAWSON合編《CHINA： THE THREE EMPERORS
11 Sun Ji. Zhongguo gu yufu, p. 44, fg. 3-17-5–8.
1662–1795 》。倫敦：皇家藝術學院，2005，頁102，編號24上圖。
12 See Evelyn S. Rawski and Jessica Rawson, eds. China: The Three Emperors
13 《晉書》，引於孫機，同註9，頁362。
1662–1795 (London: The Royal Academy of Arts 2005), p. 102, no. 24: top.
13 The Annals of Jin, cited in Sun Ji. Zhongguo gu yufu luncong, p. 362. 14 《舊唐書 • 輿服志》12–13， 引於孫機，同註9，頁355、361。
14 Old Tang History: Annals of Carriages and Livery 12–13; quoted in Sun Ji. Zhongguo 15 見劉雲輝， 同註1內列述及探討出土的唐代玉雕。
gu yufu luncong, pp. 355, 361.
15 See Liu Yunhui. Bei Zhou Sui Tang, for an almost exhaustive compilation and
discussion of verifable Tang-dynasty jades.
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