拍賣筆記 vol.223 蘇富比伊勢彥信專場：東周青銅嵌紅銅獸紋鋪首活環耳壺 - Sotheby’s Ise Collection, A Copper-Inlaid Bronze Ritual Wine Jar, Hu, Eastern Zhou Dynasty

東周嵌紅銅青銅壺，是中國古代金工藝術的巔峰之作之一。其工藝不僅展現了戰國時期金屬鑲嵌技術的突破，也體現了自然與神話意象的融合美學。與常見的青銅器相比，這類嵌紅銅作品在市場與學界的關注度往往偏低，但正因如此，其藝術價值與歷史意義在當前顯得尤為「被低估」。隨著更多相關器物的學術研究與展覽呈現，這一門類或將成為青銅器收藏中的潛力股，既有工藝精湛的魅力，也具備市場再估價的巨大空間。

Bronze vessels inlaid with red copper from the Eastern Zhou period represent some of the finest achievements in ancient Chinese metalwork. These pieces not only demonstrate the technical innovations of Warring States artisans in developing durable inlay methods but also embody a sophisticated aesthetic that merges natural and mythical motifs. Compared with more widely recognized bronzes, copper-inlaid examples have long been underappreciated in both scholarship and the market. Precisely for this reason, they stand today as an undervalued category with tremendous potential—combining unrivaled craftsmanship, historical resonance, and significant room for revaluation in the field of archaic bronze collecting.

東周　青銅嵌紅銅獸紋鋪首活環耳壺

A copper-inlaid bronze ritual wine jar, hu, Eastern Zhou dynasty

Guaranteed Property

Session begins in

September 9, 02:00 PM HKT

Estimate

1,000,000 - 3,000,000 HKD

來源

壺中居，東京

展覽

《瓷華明彩―イセコレクションの名陶》，五島美術館，東京，2015年，編號2-19

侈口，長頸溜肩，鼓腹下收於圈足，兩肩飾獸銜環，環錯雲氣紋，整體紋飾由上而下成環帶分佈，飾有長冠鳥，獨角獸，蛇和鹿紋等，以定勝紋為橫縱界欄，每一欄內飾獸紋一組，獸紋皆為單線抽象描繪，以紅銅鑲嵌，且鉚釘加固磨平。

春秋戰國金工鑲錯工藝長足發展，紋飾之細，鑄造之精，空前絕後。紋樣多取自生活與自然畫面，而又帶濃郁神話色彩。有學者發現，此類錯紅銅工藝在戰國時期更加進步：早期錯金屬需於銅器身上鑿出或者預留鑄造凹槽，再以錘揲工藝將金銀紅銅等較軟金屬固定於槽內，然此種做法金屬容易脫落，至戰國時期，工匠更會在錯紅銅上加上鉚釘磨平，使得鑲嵌更為牢固。相關工藝介紹參見蘇芳淑著，《 Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，1995年，卷3，頁257。

本壺紋樣在戰國頗為常見，但鋪首銜環亦有鑲錯之例甚罕。與本件最近一例，可比較1920年代洛陽金村出土一件青銅錯紅銅壺，鋪首亦帶鑲嵌，且有蓋，見梅原末治編，《增訂洛陽金村古墓聚英》，京都，1943年，圖版15。又可參考上海博物館藏一近例，見陳佩芬，《夏商周青銅器研究·東周上》，上海，2004年，編號513。美國賽克勒及弗利爾美術館藏一例器型、紋飾與本件亦似，惟鋪首不見鑲嵌，館藏編號S1987.347，著錄於蘇芳淑前書，卷3，編號44。美國大都會博物館藏另一例亦資參考，館藏編號29.100.545；還可比較芝加哥藝術館藏一例，館藏編號1928.143，鋪首佚失。此類紋飾銅壺後代亦有仿古之作，如紐約佳士得2018年9月13日售出一件宋代銅壺，編號1260。

東周銅錯壺：常見問題 (FAQ)

1. 這件青銅壺的主要特徵是什麼？

這件東周青銅嵌紅銅獸紋鋪首活環耳壺具有侈口、長頸溜肩、鼓腹下收於圈足的器型。其兩肩飾有獸面銜環，環上錯有雲氣紋。整件器物從上到下以環帶形式分佈紋飾，包含長冠鳥、獨角獸、蛇和鹿紋等，並以定勝紋作為橫縱界欄。每個欄內飾有一組單線抽象描繪的獸紋，這些紋飾均以紅銅鑲嵌，並經鉚釘加固磨平。

2. 這件青銅壺的「嵌紅銅」工藝有何特別之處？

此壺的嵌紅銅工藝是春秋戰國時期金工鑲錯技術發展的巔峰體現。早期鑲嵌需在銅器上鑿出或預留凹槽，再以錘揲方式將金銀紅銅等軟金屬固定，但容易脫落。到了戰國時期，工匠們改進了技術，在錯紅銅上加鉚釘磨平，使得鑲嵌更加牢固和精緻。這件壺的鋪首銜環也帶有鑲嵌，實屬罕見，展示了當時技術的精湛和突破。

3. 這件青銅壺的紋飾有何意義或特色？

這件青銅壺的紋飾融合了生活與自然畫面，並帶有濃郁的神話色彩。紋樣包含長冠鳥、獨角獸、蛇和鹿紋等，這些獸紋皆以單線抽象描繪。整體紋飾分層分佈，每一層都有其獨特的組合，呈現出豐富而精緻的視覺效果。這種將自然元素與神話象徵相結合的設計，是戰國時期藝術風格的重要特徵。

4. 這件青銅壺的年代背景為何？其在當時的歷史地位如何？

這件青銅壺屬於東周時期，具體而言，是戰國時期金工鑲錯工藝長足發展的代表作。戰國時期被譽為中國青銅器工藝的革命性時代，特別是金屬鑲嵌技術達到了前所未有的精湛水平。本壺不僅是當時技術成就的典範，其在鋪首銜環處仍保留鑲嵌的特點，更凸顯了其在同類器物中的稀有性和重要性。

5. 這件青銅壺的來源與展覽紀錄為何？

這件青銅壺的來源地是東京的壺中居。它曾在2015年於東京五島美術館展出，名為《瓷華明彩—イセコレクションの名陶》（編號2-19）。這些來源和展覽紀錄證明了其在藝術收藏界的歷史和認可度。

6. 有哪些其他著名的博物館藏品與這件青銅壺相似？

這件青銅壺與多件著名博物館藏品有相似之處。例如，1920年代洛陽金村出土的一件青銅錯紅銅壺，其鋪首亦帶鑲嵌且有蓋。上海博物館、美國賽克勒及弗利爾美術館（館藏編號S1987.347）、美國大都會博物館（館藏編號29.100.545）以及芝加哥藝術館（館藏編號1928.143）也藏有類似器型或紋飾的青銅壺。儘管這些例子在細節上可能有所不同（例如部分鋪首不見鑲嵌或已佚失），但都反映了當時流行的器型和裝飾風格。

7. 後代是否有仿製這類東周青銅壺的作品？

是的，後代有仿古之作。例如，紐約佳士得曾在2018年9月13日售出一件宋代銅壺（編號1260），便是對這類戰國時期青銅器風格的仿製。然而，拍賣筆記指出，後世工匠雖試圖效仿，但無一能真正複製出原作在技術精湛和藝術視野上完美的結合。

8. 這件青銅壺的拍賣估價是多少？它為何具有如此高的價值？

這件青銅壺的拍賣估價在1,000,000至3,000,000港元之間。其高價值源於多重因素：它不僅代表了東周時期，特別是戰國時期青銅器製作和金屬鑲嵌工藝的最高成就，更因其獨特的「鋪首銜環亦有鑲錯之例甚罕」的特點而極為珍貴。此壺的完整性和精湛工藝，以及在收藏界和學術界的重要性，使其成為一件極具收藏價值的藝術品，堪稱古代中國最非凡的藝術成就之一。

Description

the pear-shaped body rising from a slightly splayed foot to a waisted neck, set at the shoulder with a pair of beast-mask handles, each suspending a loose ring with inlaid scrolls, the exterior inlaid in copper with seven registers, rising sequentially as a frieze of confronting pairs of stylised birds, chilong, dragons, deer, and ruyi-head scrolls, the vessel with areas of light malachite encrustation

40.2 cm

Provenance

Kochukyo Co., Ltd, Tokyo. 

Exhibited

Shika Meisai: Ise Korekushon no Meito / Imperial Colors: Peerless Chinese Porcelains from the Ise Collection, Gotoh Museum, Tokyo, 2015, cat. no. 2-19.

Catalogue Note

The Warring States period marked a revolutionary era in Chinese bronze craftsmanship, particularly in the art of metal inlay, where artisans achieved unprecedented technical mastery. Their innovative work combined naturalistic elements with mythical symbolism in designs of remarkable sophistication, reaching what many consider the zenith of ancient metallurgical achievement.

Scholars have illuminated the fascinating evolution of these techniques. Early methods required painstakingly carving grooves into bronze vessels before hammering softer metals into place—a process vulnerable to detachment over time. By the mid-Warring States period, craftsmen had perfected their approach through ingenious refinements: they began securing inlays with minute rivets and polishing surfaces to flawless smoothness, resulting in far more durable and intricate ornamentation. See more discussion by Jenny F. So, in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington, 1995, vol. 3, p. 257.

The present lot exemplifies one of the rarest manifestations of this artistry—a bronze hu with exquisitely preserved copper inlays that extend even to its ring handles. While similar decorative patterns of interlaced beasts and geometric motifs appear on numerous Warring States vessels, examples retaining complete inlaid handles are exceptionally rare. Compare a highly close example unearthed from the tomb in Jincu, Luoyang in the 1920s, illustrated in Umehara Sueji, Rakuyo kinson kobo shuei [Revised and Enlarged Edition of the Tombs of Jincun, Lo-yang], Kyoto, 1943, pl. 15. Compare also other examples including one in the Shanghai Museum, illustrated in Chen Peifen, Xia Shang Zhou qingtongqi yanjiu [Study of archaic bronzes from Shang, Shang and Zhou dynasties], Shanghai, vol. 1 of Eastern Zhou, 2004, no. 513; and one in the National Museum of Asian Art Freer Gallery (acc. no. S1987.347), though the latter lacks the precious handle inlays; one in the Metropolitan Museum of Art, New York (acc. no. 29.100.545) and the other one in the Art Institute of Chicago (acc. no. 1928.143).

Later craftsmen attempted to emulate these Warring States innovations, see a Song dynasty archaistic bronze sold at Christie's New York in 2018, 13th September, lot 1260. Yet none could truly replicate the original's perfect synthesis of technical brilliance and artistic vision. This vessel offers a privileged glimpse into one of ancient China's most extraordinary artistic accomplishments, representing both a technical triumph and a timeless aesthetic achievement.

Eastern Zhou Bronze Hu - FAQ

What is the primary object being discussed in these sources?

The primary object is an Eastern Zhou Dynasty copper-inlaid bronze ritual wine jar, known as a hu. It is characterized by its pear shape, waisted neck, and beast-mask handles with loose rings, all adorned with intricate copper inlays.

What makes this particular bronze hu so remarkable and rare?

This hu is remarkable due to its exceptional craftsmanship in metal inlay, a technique that reached its zenith during the Warring States period. Specifically, its rarity stems from the exquisitely preserved copper inlays that extend not only to the body but also to the poushou (beast-mask handles) and their suspended rings. While similar decorative patterns are found on other vessels, examples with completely inlaid handles are exceptionally rare.

How did the metal inlay (錯紅銅) technique evolve during the Eastern Zhou Dynasty, particularly in the Warring States period?

The metal inlay technique underwent significant advancements. Earlier methods involved carving grooves into the bronze and hammering softer metals like gold, silver, or copper into place. However, this often led to the inlays detaching. By the mid-Warring States period, craftsmen innovated by adding minute rivets to secure the inlays and then polishing the surfaces to a flawless smoothness, making the embedded metals much more durable and the ornamentation more intricate.

What kind of decorative motifs are found on this bronze hu?

The hu features a rich array of decorative motifs arranged in seven registers, distributed in horizontal bands from top to bottom. These designs include stylized birds with long crowns, chilong (mythical hornless dragons), dragons, deer, and ruyi-head scrolls. These patterns often combine naturalistic elements with mythical symbolism, depicted with abstract single lines in red copper inlay.

What was the purpose or function of this type of bronze hu?

Based on the description "ritual wine jar," this bronze hu was likely used in ceremonial or ritual contexts for holding wine. Bronze vessels played a crucial role in ancient Chinese rituals, often symbolizing status, power, and connecting with ancestors or deities.

Who owned or exhibited this specific hu prior to its auction?

The hu was part of the Ise Collection (伊勢彥信專場), and its provenance lists Kochukyo Co., Ltd, Tokyo. It was also exhibited at the Gotoh Museum in Tokyo in 2015 as part of the "Imperial Colors: Peerless Chinese Porcelains from the Ise Collection" exhibition.

Are there any comparable examples of this kind of bronze hu?

Yes, several comparable examples exist, though most lack the complete handle inlays of the discussed hu. One very close example with inlaid poushou and a lid was unearthed in Jincun, Luoyang, in the 1920s. Other examples are held in institutions like the Shanghai Museum, the National Museum of Asian Art Freer Gallery (though without handle inlays), the Metropolitan Museum of Art in New York, and the Art Institute of Chicago (where the poushou is missing).

Did later periods attempt to replicate this exquisite craftsmanship?

Yes, later craftsmen, such as those during the Song Dynasty, attempted to create archaistic bronze vessels in the style of the Warring States period. However, the sources suggest that these later emulations, while commendable, could not truly replicate the original's "perfect synthesis of technical brilliance and artistic vision."