Page 159 - 2020 October 8 HK Fine Classical Paintings

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PROPERTY FROM A PRIVATE COLLECTION 商公元前十三至十二世紀
A LARGE ARCHAIC BRONZE RITUAL FOOD 青銅獸面紋三足鼎
VESSEL, DING
SHANG DYNASTY, 13TH – 12TH CENTURY BC 來源：
倫敦蘇富比1975年3月25日，編號157
the deep U-shaped body cast below the everted rim and a pair
of upright loop handles with a single wide register of three 戴潤齋（1910-92年）收藏
taotie masks bisected by flanges, and comprised of a pair 紐約蘇富比2011年3月22日，編號25
of protuberant eyes and hooked ribbons cast with C-scrolls
indicating horns and jaws, all above three slightly tapered legs, 出版：
each with a further taotie mask with bulging eyes above three 戴克成，《Chinese Bronzes》，紐約，1980年，彩圖4
raised filets, the surface with a smooth pale gray-green patina
h. 35.5 cm, 14 in.
PROVENANCE
Sotheby’s London, 25th March 1975, lot 157.
Collection of J.T. Tai (1910-92).
Sotheby’s New York, 22nd March 2011, lot 25.

LITERATURE
Christian Deydier, Chinese Bronzes, New York, 1980, col. pl. 4.

HK$ 3,500,000-4,000,000
US$ 451,000-520,000

This impressive vessel has an imposing profile, achieved 青銅三足鼎，雄碩渾厚，器腹深圓，器足有力，獸目
through its deep form, powerful thick legs and dramatic 鼓凸，威慑震人。紋飾線條清晰銳利，整體質精細
zoomorphic masks with prominent bulging eyes. The 膩，彰顯殷商時期青銅鑄造工藝之高度成就。商代多
sharp-edged crispness of the design and its notable level
of preservation, evidence the Shang caster’s technological 以塊範法鑄器，將紋飾直接刻於「範」，用以鑄造，
sophistication and bold creativity. The section-mould method 製成之器細緻繁複，對稱和諧，並能保持線條流暢俐
preferred by Shang casters and used for making this vessel, 落。
allowed craftsmen to showcase their virtuosity and create ever
more complex but coherent designs by carving directly on the 此鼎之獸面紋甚是罕見：紋飾細緻繁複，並見垂直羽
mould. This technique also eliminated the need to alter the 紋，應屬羅樾歸納商代青銅器之第三類風格，始見於
decoration by cold-working the metal after the initial pour, thus
ensuring it retained its striking sharpness. 鄭州晚期；本器造形碩麗，三足圓渾雄壯，或顯安陽
晚期風格，乃遷都殷墟之後，西元前1300年至1030年
The animal mask band on this vessel is unusual: its level of
intricacy and presence of vertical quills derives from Style III in 間，為商代鑄器技術之巔峰時期。
Max Loehr’s classification of Shang bronzes. This style began
to emerge in the latter period of the Zhengzhou phase. The 類同器形、紋飾之器極罕，參考二例，尺寸皆較大，
strong profile of this piece, and its prominent legs, however 出土於陝西醴泉，載於《陝西出土商周青銅器》，北
suggest a later date in the Anyang period. Anyang bronzes, 京，1979年，卷1，圖版57、58；還有一件類例，尺
which were produced between c.1300 to c.1030 BC, when 寸更大，刊於李西興，《陝西青銅器》，西安，1994
the Shang capital was moved to Yinxu, in present-day Henan
province, represent the pinnacle of Shang metalworking 年，圖版3。安陽武丁婦好墓出土一大型青銅鼎，紋
tradition. 飾與本品相類，錄於《中國青銅器全集》，卷2，北
Vessels of this form and design are rare although two larger 京，1997年，圖版8。
ding of this type, were unearthed in Liquan county, Shaanxi
province, and illustrated in Shaanxi chutu Shang Zhou
qinngtongqi [Bronzes of Shang and Zhou dynasties unearthed
in Shaanxi province], Beijing, 1979, vol. I, pls 57 and 58.

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