Page 194 - Christies March 15 2017 Fujita Museum

~524 A MAGNIFICENT AND HIGHLY IMPORTANT 商晚期 安陽 青銅饕餮紋方罍
BRONZE RITUAL WINE VESSEL AND COVER,
FANGLEI 來源

LATE SHANG DYNASTY, ANYANG, 13TH-11TH CENTURY BC 大阪藤田美術館珍藏，入藏於1940年前。

The decoration on each of the four sides of the high-shouldered, tapering 展覽
body is arranged in horizontal registers divided by vertical fanges which are
repeated at the corners. The two lower registers are cast in relief with large 東京國立博物館，《東洋美術展：東洋館開館紀念》，1968年10月12日至
taotie masks, one of which is centered by a D-shaped handle surmounted by 12月1日。
an animal mask. In the register above, a forehead shield symbolizing a taotie 大阪，藤田美術館，《中國古美術展》，1978年春。
mask is fanked by a pair of birds, which are repeated on the rectangular
neck. The rounded shoulder is cast with pairs of dragons separated on two 文獻
sides by an animal mask in high relief, and on the other two, narrower sides,
with a pair of animal-mask-surmounted, D-shaped handles that suspend 《藤田美 術 館 所 藏 品圖 錄》，卷 一，藤田美 術 館，大 阪，19 5 4 年，編 號 78。
loose rings cast with four eye patterns. All of the decoration is cast in crisp 水野清一，《殷周青銅器與玉》，東京，1959年，80頁。
relief and reserved on leiwen grounds. The surface has a dark green patina. 梅原末治，《日本蒐儲支那古銅精華》，卷一，大阪，1959年，編號18。
貝塚 茂 樹 編，《世界 美 術 全 集：中國 1，殷、周、戰 國》，卷 12，東 京，19 6 2 年，
25 in. (63.5 cm.) high, gold and silver-inlaid wood stand, Japanese double 編號36。
wood box 《東洋美術：東洋館開館紀念》，東京國立博物館，1968，67頁，編號275。
水野清一，《東洋美術：銅器》，卷五，東京，1968年，圖37。
$5,000,000-8,000,000 《藤田美術館名品圖錄》，藤田美術館，東京，1972年，編號435。
《中國古美術展》，藤田美術館，大阪，1978年，3頁，編號1。
PROVENANCE 林巳奈夫，《殷周時代青銅器的研究》，卷一（圖版），東京，1984年，291頁，
罍23。
Fujita Museum, Osaka, acquired prior to 1940. 樋口隆康， 圓城寺次郎編，《中國青銅器百選》，東京，1984年，編號53。

EXHIBITED 盛酒器。蓋作四阿式，蓋頂為四阿式鈕。直頸、大弧肩、收腹、矮圈足，八道長條
式扉棱置於四角和四面中間，自圈足至蓋，各段不相連，蓋面扉棱出簷。蓋四面
Tokyo National Museum, Exhibition of Eastern Art: Celebrating the Opening 均飾倒置的饕餮紋。器直口外壁飾相對的夔鳳紋，弧肩面內側飾凸弦紋，肩面紋
of the Gallery of Eastern Antiquities, 12 October to 1 December 1968. 帶由相對的大角夔紋組成，前後面中間置圓雕犧首，兩側置C形獸首耳，銜環。
Osaka, Fujita Museum, Exhibition of Ancient Chinese Art, Spring 1978. 腹部滿紋飾，分三段，上為相對的兩夔鳳紋，中為回勾角饕餮紋，下為下勾角饕
餮紋，一面的下腹中間置C形獸首耳。圈足紋帶為相對的兩龍紋。這些紋飾為浮
L I T E R AT U R E 雕 型，上 加 飾 以 陰 線，下以 細 密雲 雷 紋 襯 地。

Masterpieces in The Fujita Museum of Art, vol. 1: Arts and Crafts, Fujita 商晚期 安陽 青銅犠首饕餮虺龍文方罍
Museum, Osaka, 1954, no. 78.
Seiichi Mizuno, Bronzes and Jades of Ancient China,Tokyo, 1959, p. 80.
Sueji Umehara, Nihon shucho shina kodo seika (Selected Relics of Ancient
Chinese Bronzes from Collections in Japan), vol. 1, Osaka, Yamanaka & Co.,
1959, no. 18.
Shigeki Kaizuka, ed., Sekai Bijutsu Zenshu: Chugoku 1, Yin, Shu, Sengoku
(Complete Collection of the World’s Art: China 1 Yin, Zhou, and the Warring
States), vol. 12, Tokyo, 1962, no. 36.
Exhibition of Eastern Art: Celebrating the Opening of the Gallery of Eastern
Antiquities, Tokyo National Museum, 1968, p. 67, no. 275.
Seiichi Mizuno, Asiatic Art in Japanese Collections: Chinese Archaic Bronzes,
vol. 5, Tokyo, 1968, pl. 37.
Masterpieces in The Fujita Museum of Art, Fujita Museum, Tokyo, 1972,
no. 435.
Exhibition of Ancient Chinese Art, Fujita Museum, Osaka, 1978, p. 3, no. 1.
Minao Hayashi, In Shu jidai seidoki no kenkyu (Conspectus of Yin and Zhou
Bronzes), vol. 1 (plates), Tokyo, 1984, p. 291, lei no. 23.
Takayasu Higuchi, Jiro Enjoji, ed., Chugoku seidoki hyakusen (100 Selected
Chinese Archaic Bronzes), Tokyo, 1984, no. 53.

Please note that the use of the symbol ~ for this particular lot is in reference
only to the accompanying wood stand [or box/other as applicable] for the lot.

Please contact the sale coordinator if you have any questions.

192 IMPORTANT CHINESE ART FROM THE FUJITA MUSEUM