Page 30 - 2020 Nov 30 Christie's Hong Kong Scholars Art Of China

fig. 2
圖二

2706 Continued

Turquoise inlay on bronze was a difficult technique that had already 「玉援」呈棕色，帶乳白浸斑，「援」末端嵌進青銅「欄」內，銅欄後
appeared on ornaments during the late Erlitou Culture. The motif of bird 素面有孔，「銅內」後段作向下彎曲鑲綠松石的鳥首。這種青銅鑲嵌玉
seen on the hafting bar of the present blade was a particularly popular 石的華麗技術表現，傳承了夏文化（二里頭晚期）的複合式工藝特徵，
one on works of art from the Shang dynasty, as the Shang people
believed they were descended from a black bird. Similar ge-halberd 製作難度極高。而商代鳥的圖騰極為發達，《詩經·商頌·玄鳥》中有
blades were excavated from late Shang dynasty tombs, such as an 「天命玄鳥，降而生商」之句，即是記述有娀氏之女簡狄吞玄鳥蛋而生
example from the tomb of Fu Hao, consort of King Wu Ding, found 「契」的故事，「契」是商的始祖，所以鳥成為商代主要的圖騰，也是
at Anyang, Henan province, illustrated in Yinxu Fuhao mui (The Jades 商代禮器紋飾圖案的重要元素。比較婦好墓出土形制、鑲嵌紋飾近似的
from the tomb of Fu Hao at Yinxu), Beijing, 1980, col. pl. 17. Unlike the
present example, the jade blade of the Fuhao ge fits into an additional 玉援銅內戈，見《殷墟婦好墓》，北京，1980年，彩版十七。該件玉援
bronze socket inlaid in turquoise with a taotie mask set below the 銅內戈現陳列於北京中國國家博物館（圖二）。
hafting bar. The Fuhao ge is currently on display at the National Museum
of China, Beijing (fig. 2).

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