拍賣筆記 vol.327 蘇富比紐約2026：西周初亞離父癸簋，山中商會 - Sotheby’s NY 2026, The Ya Li Fu Gui Gui, An Archaic Bronze Four-Handled Ritual Food Vessel, Early Western Zhou Dynasty, Yamanaka Collection

此般皮殼的青銅器與台北故宮的一批參加過1935年倫敦國際中國藝術展覽會的器物如出一轍。這件器形挺拔，較上海博物館的鄂叔簋更高，後者底部有系鈴鐺。此件銘文屬於亞族關聯，級別以及研究價值高，更有山中商會傳承，是這次紐約亞洲藝術周值得關注的一件器物。

This bronze vessel, with its remarkably thin walls (or "shell"), bears a striking resemblance to the group of objects from the National Palace Museum in Taipei that were exhibited at the 1935 International Exhibition of Chinese Art in London.

The piece stands tall and elegant in form, surpassing the height of the E Shu Gui (鄂叔簋) in the Shanghai Museum collection—the latter features a bell suspended from its base.

The inscription on this vessel is associated with the Ya clan (亞族), conferring it high status and significant research value. Furthermore, it carries a provenance from the Yamanaka Shokai (山中商會), making it one of the standout highlights worthy of close attention during this New York Asia Art Week.

西周初 亞離父癸簋

An Archaic Bronze Four-Handled Ritual Food Vessel, Early Western Zhou Dynasty

Property From A Colorado Family Collection

現場拍賣開始：

2026 March 25, 09:30 PM HKT

估價

400,000 - 600,000 USD

描述

銘文：

亞離父癸

狀況報告

In overall good condition except for a small restored aperture to the interior. Expected wear and minor casting imperfections. X-ray images available upon request.

整體品相良好，僅內底見一小孔經補。見正常磨損及輕微鑄造瑕疵。X光片可供索取。

出處

山中商會，紐約或波士頓，1908年

重要美國私人收藏，此後家族傳承

展出

科羅拉多自然歷史博物館（今丹佛自然和科學博物館），丹佛，1911年已入館（借展）

著錄

《Denver Municipal Facts》，卷3，編號9，丹佛，1911年2月25日，頁11

圖錄說明

本亞離父癸簋珍稀罕有，形制雄渾，鑄重要銘文而傳承有緒，實乃近年現身市場最卓越之高古青銅禮器之一。本器高足外撇，深腹，四耳飾獸面紋，附蛇形垂珥，彰顯高古藝匠非凡創意及技藝，從中並可見後世藏家謹慎之守護。

此器高足深腹，器型或源自豆，後者多為漆器或陶器，至西周時偶見於青銅作例。漆或陶豆多飾旋渦紋或嵌貝殼作裝飾，本簋以卷紋仿之。可比較一西周青銅「琱生豆」例， 1978 年陝西寶雞高泉村出土，現藏陝西歷史博物館，見李西興編，《陝西青銅器》，西安，1994 年，圖版 87。

此類簋多數帶雙耳，而本品則有四耳，尤為獨特。如此設計，或為彰顯財富，或反映青銅禮器由祭祀禮器轉而成為身份地位象徵之趨勢，亦可能純為創新。無論動機為何，四耳簋比諸一般雙耳作例更為莊嚴雄渾，於藝術史上地位亦更重要。

商及西周重要禮器，内壁底部鑄有五字銘文，記錄作器者氏族為「亞離」，「癸」乃人名，「父癸」則屬尊稱。亞離族以靈鳥為徽，鳥立於網間，極為罕有，僅見於商晚期至西周早期少數作例。可比較一件商晚期亞離父乙尊，又稱曾亞禽父乙尊，屬瀋陽故宮博物院珍藏，現存於台北故宮博物院（中銅 819），並載《吉金耀采：院藏歷代銅器》，台北，2014 年，頁 52，同頁並載亞離氏族徽；另有一斝例，天津博物館藏，見《天津博物館藏青銅器》，北京，2018 年，圖版 18；再比一例，器型不詳，銘文「亞離父丁」，潘祖蔭（1830–1890年）舊藏，銘文錄於《殷周金文集成》，北京，2007 年，卷7，編號 10535。

據目前所知，與本器銘文完全相同者僅有一例，惟形制為常見之雙耳簋。該器出土於湖北隨州葉家山西周古墓 M65，見〈湖北隨州葉家山 M65 發掘簡報〉，《江漢考古》，2011 年第 3 期，頁 17–19，圖 14:1。葉家山西周古墓，以出土多件西周早期曾侯器聞名，對周朝立國之研究具重要價值。亞離氏與曾侯家族具體關係，相關研究甚少，然而亞離氏青銅器出現於此重要宗族墓地，或暗示此氏族與西周早期王族有直接聯繫，或為附庸、重臣、亦可能因被征服或經通婚而獲封位。

本簋來源顯赫，青銅表面包漿觸手溫潤，並配精雕硬木座及蓋，蓋上飾玉鈕首，處處皆顯示其為深受珍重之高古重器，出土於清代、歷經百餘載私人珍藏。本品 1908 年購自著名古董商山中定次郎（1866–1936年），乃最早流入美國其中一件重要青銅器，原藏家曾於 1911 年（或更早）將其借展美國科羅拉多自然歷史博物館（今丹佛自然科學博物館），此後由家族珍藏至今。

與本器形制紋飾完全相同之青銅簋，迄今未見出土，相近作例亦極罕。可比較中國國家博物館(北京)藏宜侯夨簋，器身較濶，兩側出戟，下方飾成對抽象鳥紋，1954 年出土於江蘇丹徒烟墩山，見吳鎮烽編，《商周青銅器銘文暨圖像集成》，卷12，上海，2012 年，編號 5373；另有一連蓋姒簋，私人收藏，前述出處，卷9，編號 4412；再比一榮簋，清宮舊藏，現存於北京故宮博物院（館藏編號 gu 00076949），載於《故宮博物院藏文物珍品全集．青銅禮器》，香港，2006 年，圖版 29；尚有一歷簋，保利藝術博物館藏，載於吳鎮烽，出處同上，編號 4407。 

 另有一簋例，比例與本品接近、惟銘文較後期，現藏於華盛頓國立亞洲藝術博物館（館藏編號 S1987.335）（圖一），傑西卡•羅森曾詳細論述，斷代西元前十世紀，見《Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，卷 IIB，劍橋，1990 年，編號 52；另有一簋，銘文被抹除，飾獸面而無本器之圓渦紋，曾屬 Higginson及Fogg家族收藏，今存於哈佛藝術博物館（館藏編號1944.57.17a）（圖二），見梅原末治《歐美蒐儲支那古銅精華（上）》，卷II，大阪，1933 年，圖版 113；另有一簋，無銘文、下方飾鳥紋，出自 Avery Brundage 收藏，現藏於舊金山亞洲藝術博物館，載於該館網站（館藏編號 B60B111）（圖三）。

尚有一例，上海博物館藏仲敒簋，器型相近，惟僅帶雙耳及出戟，羅森按其重量及足部推斷其時期較同組作例更早，前述出處；再比四件四耳豆式簋連方座：一例曾屬葉恭綽珍藏（吳鎮烽，同書，編號 2512）；1981 年陝西省寶雞市紙坊頭出土魚伯雙耳方座簋，現藏於寶雞市博物館，見李希興，《陝西青銅器》，1994年，圖版 63；鄂叔簋，上海博物館藏，其上方紋飾更為抽象，見《中國青銅器全集》，卷6〈西周二〉，北京，1997 年，圖版 107；以及紐瓦克藝術博物館藏 一例（館藏編號 52.174），出自C. Suydam Cutting 夫人收藏，每面僅飾一圓渦紋與本器尤為接近，羅森斷其年代為西周下半期，出處同上，圖52.6。

PROPERTY FROM A COLORADO FAMILY COLLECTION

The Ya Li Fu Gui Gui, An exceedingly rare and important archaic bronze four-handled ritual food vessel, Early Western Zhou dynasty

Live auction begins on:

March 25, 09:30 PM HKT

Estimate

400,000 - 600,000 USD

Description

inscribed to the interior with a four-character inscription reading Ya Li Fu Gui, wood cover with jade finial and wood stand (3)

Width 10¼ in., 26 cm

Condition Report

In overall good condition except for a small restored aperture to the interior. Expected wear and minor casting imperfections. X-ray images available upon request.

整體品相良好，僅內底見一小孔經補。見正常磨損及輕微鑄造瑕疵。X光片可供索取。

Provenance

Yamanaka & Co., New York or Boston, 1908.

Important American Private Collection, and thence by descent.

Exhibited

Colorado Museum of Natural History (now the Denver Museum of Nature & Science), Denver, by 1911 (on loan).

Literature

Denver Municipal Facts, vol. III, no. 9, Denver, 25th February 1911, p. 11.

Catalogue Note

With its striking sculptural form, remarkable inscription, and storied provenance, the exceptionally rare Ya Li Fu Gui Gui represents one of the finest archaic bronzes to come to market in recent years. Rising from a tall flaring foot up to a generous bowl supporting four robust handles, each decorated with imposing taotie masks and long serpentine pendants, the gui is a testament to the creativity and mastery of its ancient casters and the diligent stewardship of its more recent custodians.

The tall foot and bowl-like form of this extraordinary vessel were likely derived from covered vessels of dou form which, while typically produced in lacquered wood or fragile pottery, were occasionally produced in bronze by the Western Zhou. These footed vessels appear to have featured swirling designs or inlaid shells which were imitated in the bold whorls of the present design. Compare, for example, a bronze dou with prominent roundel design (the Zhou Sheng Dou), excavated in 1978 from Gaoquan Village, Baoji county, now in Shaanxi History Museum in Li Xixing, ed. The Shaanxi Bronzes, Xi’an, 1994, pl. 87.

The present form is also distinguished by its four prominent handles in place of the more commonly attested pair. Whether as a demonstration of material wealth, an indication that vessels were increasingly symbols of status rather than primarily religious tools, or simply as a bold stylistic variation, these four substantial handles lend the vessel an air of majesty and grandeur rarely achieved by more standard two-handled variations and mark the piece as one of significant art-historical interest.

As with many of the finest vessels of the Shang and Western Zhou dynasties, the interior of the gui is inscribed with a brief five-character inscription, recording the identity of the elder associated with the vessel's commission – in this case a Father Gui – and the clan to which he belonged, the Ya Li. Depicting a bird above an open net, the Ya Li clan sign is exceedingly rare with just a handful of examples attested in late Shang and early Western Zhou contexts. Compare a late Shang zun vessel dedicated to Father Yi of Ya Li formerly preserved in the Shenyang Palace and now in the National Palace Museum, Taipei (accession no. zhong tong 819), included in Rituals Cast in Brilliance. Chinese Bronze Through the Ages, Taipei, 2014, p. 52, alongside a bronze seal of Ya Li shi mark; a jia in the collection of the Tianjin Museum, illustrated in Tianjin Bowuguan cang qingtong qi [Bronze wares collected by the Tianjin Museum], Beijing, 2018, pl. 18; a vessel (of unidentified form) from the collection of Pan Zuyin (1830–1890) dedicated to Father Ding of Ya Li, the inscription recorded in Yinzhou jinwen jicheng [Compendium of Yin and Zhou Bronze Inscriptions], The Institute of Archaeology, Chinese Academy of Social Sciences, Beijing, 2007, vol. 7, no. 10535.

Only one other extant vessel appears to bear the same inscription as the present, attributing its production to a Father Gui of the Ya Li clan: namely, a gui vessel of conventional two handled form, uncovered from the Western Zhou tomb M65 in Yejiashan, Suizhou, Hubei province, illustrated in ‘Hubei Suizhou Yejiashan M65 fajue jianbao’, Jianghan kaogu, 2011, no. 3, pp 17–19, fig. 14:1. This tomb site is most notable for its plethora of vessels attributed to the Marquis of Zeng from the early Western Zhou period and has been invaluable to scholarly understanding of the formation of the Zhou state. While the specific connection between the Ya Li clan and the ascendent marquis remains largely unexplored, the presence of Ya Li marked vessels in this family tomb context implies a direct relationship between the Ya Li and the early Western Zhou court, perhaps as vassals, ministers or a smaller clan which integrated into the ruling echelons through marriage or conquest.

The present gui is also remarkable for its storied provenance. With a rich tactile patina, finely carved hardwood stand and cover, topped with an intricate jade finial, the vessel bears all the signs of a so-called ‘heritage’ bronze uncovered in the Qing dynasty and preserved for over a century in private hands. Acquired from the renowned dealer Yamanaka Sadajirō (1866–1936) in 1908, the Ya Li Fu Gui Gui appears to have been among the first major bronzes to be acquired in America, loaned by its original owner to the Colorado Museum of Natural History (now the Denver Museum of Nature & Science) at least by 1911, and has remained in the family collection.

To date, no other gui of identical design appears to have been uncovered with other surviving variations on the design each exceedingly rare. Compare the closely related Yihouze Gui 宜侯夨簋 in the National Museum of China, Beijing – of slightly wider form with side flanges and pairs of stylized birds to the lower register – excavated in 1954 from Yandunshan, Dantu county, Jiangsu and illustrated in Wu Zhenfeng, ed., Shang Zhou qingtongqi mingwen ji tuxiang jicheng [Compendium of inscriptions and images of bronzes from Shang and Zhou dynasties], vol. 12, Shanghai, 2012, no. 5373; the covered Si Gui 姒簋 in a private collection, illustrated ibid., vol. 9, no. 4412; the Rong Gui 荣簋 from the Qing Court Collection, now in the Palace Museum, Beijing (accession no. gu 00076949), in Complete Collection of Treasures of the Palace Museum. Bronze Ritual Vessels and Musical Instruments, Hong Kong, 2006, pl. 29; and the Li Gui 歷簋 in the Poly Art Museum in Wu Zhenfeng, op. cit., no. 4407. 

Another later-inscribed gui of very similar proportions to the present, is preserved in the National Museum of Asian Art, Washington (accession no. S1987.335) (Fig. 1), illustrated and discussed in length in Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol. IIB, Cambridge, 1990, cat. no. 52, who attributes the vessel to the tenth century BCE; another gui of effaced mark with taotie masks in place of the present roundel design from the Higginson and Fogg collections, is now preserved in the Harvard Art Museums (accession no. 1944.57.17) (Fig. 2), and illustrated in Sueji Umehara, Shina-Kodo Seikwa / Selected Relics of Ancient Chinese Bronzes from Collections in Europe and America, pt. I, vol. II, Osaka, 1933, pl. 113; and another apparently uninscribed example with birds to the lower register, from the Avery Brundage Collection is in the Asian Art Museum, San Francisco (accession no. B60B111) (Fig. 3), illustrated on the Museum’s website.

Finally, compare the Zhongshen Gui 仲敒簋 in the Shanghai Museum – related in form but with only two handles and side flanges – discussed by Rawson, op. cit., in the context of this group and attributed to earlier date than the rest of the group by virtue of its mass and prominent foot ; and four closely related gui of four-handled pseudo-dou forms with attached square bases: one from the collection of Ye Gongchuo in Wu Zhenfeng, op. cit., no. 2512; the Yubo Gui, excavated in 1981 at Zhifangtou, Baoji, now in the Baoji City Museum, in Li Xixing, ed., The Shaanxi Bronzes, Xi’an, 1994, pl. 63; the E Shu Gui in the Shanghai Museum with a more formalized upper register incorporating roundels in Zhongguo qingtongqi quanji, vol. 6: Xizhou 2, Beijing, 1997, pl. 107; and a gui from the collection of Mrs. C. Suydam Cutting in the Newark Art Museum, Newark (accession no. 52.174), particularly close to the present in featuring only one roundel on each face, illustrated in Rawson, op. cit., fig. 52.6, where the author attributes it to the second half of the Western Zhou.