拍賣筆記 vol.341 邦瀚斯紐約2026：2.432萬美元成交，藍理捷，漢鎏金銅鑲嵌熊形足 - Bonhams 2026, A Small Inlaid Gilt Bronze Bear-Form Support, Han Dynasty, Sold for US$24,320

近年來，此類漢代早期小型青銅器在國際市場的熱度正逐步上升。雖然本器尺寸屬於較小一類，但以其精湛的鑲嵌工藝、豐富的鎏金與綠松石裝飾，以及重要的出版與展覽經歷，仍取得不俗成交價，顯示市場對其藝術價值的高度認可。

過去十年，這類高古小型青銅器長期處於市場低估狀態。然而，其卓越的藝術性、深厚的歷史文化內涵，以及相對親民的價格區間，正吸引越來越多注重歷史學習與本質審美的 90 後、00 後年輕藏家青睞。他們逐漸將目光從明清器物轉向更具原創精神與學術意義的早期藝術品，使得此類器物的性價比優勢日益凸顯，市場認可度與價值重估正穩步展開。預計未來此類精美漢代青銅小件將持續受到新一代收藏群體的重視。

此件漢代鎏金銅鑲嵌綠松石熊形足，高僅 3.2 cm（1 1/4 in.），於邦瀚斯紐約「中國陶瓷與藝術品」專場以 US$24,320（含佣金）成交（槌價 US$19,000），遠超預估價 US$8,000–12,000，表現堅實。

器物以中空圓雕技法鑄成，熊呈蹲踞之姿，表情兇猛生動：左前爪置於左腿之上，左後腿收於身下，右前肢高舉至肩後作負重狀；頭部碩大，尖吻張口露齒，深陷眼窩，額頭鑲嵌水滴形綠松石，胸前亦有兩處圓形綠松石鑲嵌（第三處或為原設計留空）；全身細刻毛紋，背部開口並延伸穿孔片以供固定，短尾尖翹，通體鎏金燦然，局部綠鏽斑駁，眼窩與口內尚存紅彩遺跡。整體造型雖小巧，卻刻畫精湛，氣勢十足。

來源：紐約藍理捷古董行（J. J. Lally & Co.），2003 年

出版：《Recarving China's Past: Art, Archaeology, and Architecture of the "Wu Family Shrines"》，普林斯頓大學藝術博物館，2005 年，頁 418，圖版 49

展覽：同上展覽，2005 年

在漢代文化中，熊常與精英階層的地位與權力象徵相關，多呈半人半獸形態，既保留自然力量，又帶有莊嚴威儀。類似鎏金銅熊形足在台北故宮博物院（贈銅000340N）及北京故宮博物院（建武廿一年銘，公元 45 年）均有收藏，可資比對。

漢 鎏金銅鑲嵌熊形足

A SMALL INLAID GILT BRONZE BEAR-FORM SUPPORT

Han Dynasty

FINE CHINESE CERAMICS AND WORKS OF ART

2026年 3月 23日, 09:00 EDT

紐約

US$8,000 - US$12,000

Hammer：$19,000

成交價：US$24,320（包括佣金）

A SMALL INLAID GILT BRONZE BEAR-FORM SUPPORT

Han Dynasty

Cast hollow and in the round, the beast squatting low in a ferocious expression, its left paw resting on the thigh with its left leg tugged under, the right arm raised behind the shoulder as if bearing a heavy load, the large head and pointy nose well-modeled, the wide-open mouth showing sharp teeth below the pair of deep eye-sockets, the head and body further detailed by incised lines to indicate fur, the forehead inlaid with a teardrop-shaped turquoise, the breasts also inlaid with two small circular turquoise above the empty socket possibly for the third inlay, the reverse cut open above the shoulder, a pierced tab extended behind the rounded ears for attachment, the back showing a short, pointed tail at the rump, the surface with rich gilding and scattered green encrustation, the eye sockets and inside the mouth with remains of red pigments.

1 1/4in (3.2cm) high

Provenance:

J. J. Lally & Co., New York, 2003

Published:

Recarving China's Past: Art, Archaeology, and Architecture of the "Wu Family Shrines", Princeton, 2005, p. 418, no. 49

Exhibited:

Recarving China's Past: Art, Archaeology, and Architecture of the "Wu Family Shrines", Princeton Art Museum, Princeton, 2005

來源：

紐約藍理捷古董行，2003 年

出版：

Recarving China's Past: Art, Archaeology, and Architecture of the "Wu Family Shrines"，普林斯頓大學藝術博物館，2005 年，頁 418，圖版編號 49

展覽：

Recarving China's Past: Art, Archaeology, and Architecture of the "Wu Family Shrines"，普林斯頓大學藝術博物館，2005 年

In Han dynasty culture, bear was associated with the ranking of the elites, often appeared humanoid but retaining its strength and power in nature. An inlaid gilt bronze bear-form support of larger size from the Nitta Collection and donated to the Palace Museum, Taipei, is illustrated on the museum's website (贈銅000340N), noted by the curator another similar bear-form support, inscribed with a Jianwu twenty-first year date (A.D. 45), in the collection of the Palace Museum, Beijing.

Compare also the finely decorated gilt bronze bear-form support with turquoise inlays, offered by J. J. Lally & Co., Bronze and Gold in Ancient China, New York, 2003, no. 19.

In recent years, the market for early Chinese archaic bronzes, particularly small-scale gilt and inlaid pieces, has shown steadily rising interest. Although this example is modest in size, its exceptional craftsmanship, turquoise inlays, well-preserved gilding, and solid scholarly provenance (including important publication and exhibition history) contributed to a strong result.

For the past decade, such small early bronze objects were relatively undervalued in the market. However, their superior artistic quality, profound historical and cultural significance, and attractive price-to-quality ratio have increasingly appealed to a new generation of collectors—particularly those born in the 1990s and 2000s—who prioritize historical context, scholarly depth, and genuine artistic merit over more conventional Ming-Qing works. This shift is gradually driving a re-evaluation and upward correction in the valuation of these refined archaic bronzes.