Page 62 - SOTHEBYS MARCH 18 AND 19 2025

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A LARGE GILT-BRONZE MASK, NORTHERN 北魏 / 北齊 銅鎏金獸面紋舖首
WEI / NORTHERN QI DYNASTY
metal stand (2) 來源
Height 10¼ in., 26 cm 藍理捷，紐約，2005年1月28日
此舖首古樸華麗，乃相近作例當中尺寸最大之一。獸
PROVENANCE
面紋亦稱饕餮紋，象徵權力地位、驅邪避凶，自商初
J.J. Lally & Co., New York, 28th January 2005.
起見於青銅器，飾禮器、棺槨、墓門及廟宇，見於高
Glaring out as an ancient icon of power and protection, 古青銅時代各期。商代早期獸面紋尺寸多數較小，並
this magnificent mask is one of the largest of its type ever 呈幾何形狀，直至公元前一千紀之交，隨失蠟法鑄造
recorded. Cast in a range of sizes and styles from the early 技藝精進，形制更見繁複，亦更富表現力。本舖首屬
Shang period onwards, fearsome animal masks of this type 於較後期作例，堪稱該時期風格典範，舖首上方為鏤
(known as taotie) were used to adorn the ritual vessels,
coffins and doors of noble tombs and temples throughout 空旋紋及植物紋飾，下半為獸面，獸牙尖銳，工藝精
China’s Bronze Age. While earlier Shang taotie masks 巧，鎏金裝飾富麗堂皇，經兩千載仍然金光閃爍，彰
were often rendered in smaller and more blocky geometric 顯獸面象徵之威嚴及文化地位。
forms, advancements in bronze casting around the turn of 觀察舖首，可見小孔及缺失之喙部，按推斷應曾附於
the first millennium – particularly the embrace of loss-wax
casting – allowed artisans to create ever more elaborate 更大型之器物，承托環耳。比較一對鏤空花作例，
and expressive examples. Rendered with spiralling vegetal 無鎏金，帶環耳，尺寸較小，曾載於Ruth Spelman
openwork above a grand zoomorphic face and pointed tusks, 著《The Arts of China》，C. W.Post Art Gallery，紐
the present mask typifies the fine craftsmanship of this later 約，1977年，編號44，售於紐約蘇富比1979年4月2
period. The addition of gilding, still glowing across much of 日，編號59；另比一北魏作例，無鎏金，尺寸較小，
the piece after almost two millennia of stewardship, only 鏤空處有一蹲踞人像，曾展於東京千秋庭《中國美術
further emphasizes the symbolic power of this mask – as a 蒐集》，東京，2006年，編號27，並售於紐約佳士得
symbol of the owner’s might, opulence, and cultural capital.
2013年9月19日至20日，拍品1458；亦有一件飾鳥紋
Small pinholes and signs of a missing ‘beak’ section on 鏤空鎏金作例，曾屬 Alfred Schoenlicht珍藏，現存於
the present mask indicate that it was likely once fastened 出光美術館，圖載於《中国の工芸：出光美術館蔵品
to some monumental vessel, on which it supported a ring 図録》，大阪，1986年，圖版260。
handle. Compare a related pair of smaller ungilded masks
with fleur-de-lis openwork, together with ring handles,
included in Ruth Spelman, The Arts of China, C. W. Post
Art Gallery, New York, 1977, cat. no. 44, and sold in these
rooms, 2nd April 1979, lot 59; a smaller ungilded Northern
Wei mask with a squatting figure amidst the openwork,
exhibited in The Collection of Chinese Art: Special Exhibition.
‘Run Through 10 Years’, Senshutey, Tokyo, 2006, cat. no. 27,
sold at Christie’s New York, 19th and 20th September 2013,
lot 1458; and a gilded example with openwork birds, from
the collection of Alfred Schoenlicht, now preserved in the
Idemitsu Museum of Arts, illustrated in Ancient Chinese Arts
in the Idemitsu Collection, Osaka, 1986, pl. 260.

$ 100,000-200,000

120 SOTHEBY’S COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11744 A COLLECTING JOURNEY: THE JANE AND LEOPOLD SWERGOLD COLLECTION 121