拍賣筆記 vol.343 邦瀚斯紐約2026：藍理捷，東晉金蟬璫，2.816萬美元售出 - Bonhams 2026, J.J.Lally, A Gold Filigree 'Cicada' Hat Ornament, Eastern Jin Dynasty, Sold for US$28,160

金璫（金蟬冠飾）是中國古代冠帽制度中極具象徵意義的重要器物，尤其在漢至魏晉南北朝時期，代表高潔品格、權位榮寵與不朽精神。這件東晉（4-5世紀）金絲蟬紋冠飾，雖然尺寸僅高4.2cm、重量約7.46克，屬於較小型例，但工藝精湛、保存狀態良好，以撿漏價格成交，性價比極高，堪稱六朝金銀器中的亮眼小品。

東晉 金蟬璫

PROPERTY FROM A NEW YORK PRIVATE COLLECTION

LOT 72

A GOLD FILIGREE 'CICADA' HAT ORNAMENT

Eastern Jin, 4th/5th century

FINE CHINESE CERAMICS AND WORKS OF ART

23 March 2026, 09:00 EDT

New York

來源：紐約藍理捷古董行，2006 年

US$15,000 - US$25,000

成交價：US$28,160（包括佣金）

歷史淵源與文化象徵

蟬在中國文化中源遠流長，自商周青銅器上的蟬紋開始，即象徵「居高飲清」、蛻變重生與不朽。漢代以後，蟬形飾物更融入輿服制度，成為冠帽上的標誌性附件。文獻記載最早可溯至戰國趙武靈王「效胡服」引入貂蟬之飾，秦滅趙後賜予近臣。漢晉時期制度完善：《後漢書·輿服志》記載「侍中、中常侍加黃金璫，附蟬為文，貂尾為飾，謂之趙惠文冠」；《晉書·輿服志》亦云「侍中常侍則加金璫，附蟬為飾，插以貂毛」。

金取其剛毅，蟬居高樹、餐風飲露寓「清虛識變」與「五德」（文、清、廉、儉、信），貂尾則象徵內競悍而外柔順，三者結合的「貂蟬冠」遂成為高官顯貴的榮譽標誌。陸雲《寒蟬賦》更將蟬比作君子之德：「君子則其操，可以事君，可以立身，豈非至德之蟲哉？」在政治動盪的魏晉南北朝，蟬璫賞賜不再嚴格限於侍中、常侍等職，甚至擴及有功外臣與女性（如敦煌前涼氾心容墓出土蟬紋金飾），反映禮制逾越與社會風氣變化。

除惠文冠（籠冠，臣下所戴）外，皇帝的通天冠亦常附「金博山」（蟬紋或山形金飾），象徵天子威儀。蟬還與玉琀（含蟬）並行，用於葬俗，置於逝者口中，祈求靈魂超越與再生。

器物特點與工藝

這件東晉金璫為盾形青銅底板，上覆鏤空金箔，以細金絲與金粟粒（granules）構成寫實而 stylised 的蟬形：雙眼鑲嵌綠松石色珠（現存），口器與觸鬚簡化優雅，足部捲曲、雙翅展開，邊緣呈鋸齒狀（pinked）並向後折疊固定。青銅板邊緣有孔雀石（malachite）斑痕，增添古樸滄桑感。整體工藝融合鎏金、焊珠、鏤刻與鑲嵌技法，體現六朝金銀細工的高超水準。

類似實物多見於南京地區東晉墓葬，如仙鶴觀6號墓（高悝夫婦墓）、南京大學北園東晉墓等。尺寸小巧者常為實用冠飾，而非大型博山；此件4.2cm高，符合多數出土例，適合固定於冠前，搭配貂尾使用。相較大都會博物館藏較大件（鑲藍寶、綠松石與珊瑚），此器更顯親切細膩，卻不失皇家貴氣。

市場與收藏價值

2024年邦瀚斯（Bonhams）拍賣中，此件出自紐約私人收藏（曾經J. J. Lally & Co., 2006），附原配盒，以US$28,160成交（含佣金）。相較其歷史、工藝與稀有度，價格極具吸引力，尤其在六朝金銀器市場中，小型完整金璫難得一見。類似例可參考史密森尼國家亞洲藝術博物館（Dr. Paul Singer舊藏）、瑞士Uldry收藏及日本白鶴美術館藏品。

artsaca.com《北朝筆記》系列對金璫有深入探討，從蟬璫到金博山、惠文冠與通天冠的演變，結合文獻與考古，清晰呈現其在六朝服飾文化中的核心地位。此器正是該系列所論實物的典型縮影——雖小卻濃縮了「金剛蟬清」的古典美學與權力符號。

總之，這件東晉金絲蟬紋冠飾，不僅是精美的工藝品，更是理解魏晉南北朝禮制、審美與精神世界的珍貴窗口。尺寸雖小，卻蘊含千年不朽的象徵力量，值得細細品味與珍藏。

A GOLD FILIGREE 'CICADA' HAT ORNAMENT

Eastern Jin, 4th/5th century

The shield-form bronze plaque behind the openwork gold foil of raised lines and granules portraying the mythical bug, its eyes inset with turquoise-color beads and behind stylized mouth and tentacles, the legs with curled feet under the spreading wings, all enclosed within a linear frame, the edges of gold foil pinked and folded back, the bronze with malachite encrustations.

1 5/8in (4.2cm) high;

weight: 7.46 grams

(fitted box).

Provenance:J. J. Lally & Co., New York, 2006

Cicada, the symbol of rebirth and immortality in ancient China, appeared as early as the Shang dynasty on ritual bronzes. The imagery became a stand-along ornament when carved in jade and wore by Han dynasty officials at the front of the hat. The jade cicada was also an integral part of Han burial practice, placing on the tongue of the deceased and symbolizing the transcendent of spirit.

Gold filigree 'cicada' ornaments similar to the present lot were fashionable in the Six Dynasties, wore by members of the imperial family and court elites. A very similar example unearthed from the Eastern Jin tomb no. six at Xianheguan, Nanjing, and now in the collection of the Gaotai County Museum, is illustrated by Yang Zhishui, Zhongguo gudai jin yin shoushi (Ancient Chinese Gold and Silver Ornaments), Vol. I, Beijing, 2014, p. 55, no. 1-36:2.

Several gold filigree 'cicada' hat ornaments are in museum collections. A similar example in the collection of the Hakutsuru Museum, Hyogo, is illustrated in Rikuchō no bijutsu (Art of the Six Dynasties), Osaka, 1975, p. 17, no. 2~30, together on the same page with two other hat ornaments of this form and design in the Japanese private collection, no. 2~28. Compare, for example, from the Dr. Paul Singer Collection and now in the collection of the National Museum of Asian Art, Smithsonian, Washington D.C., illustrated on the museum's website, accession number RLS1997.48.4455. A similar ornament from the Uldry Collection is illustrated by Helmut Brinker, Chinesisches Gold und Silber, Museum Rietberg Zurich, Zurich, 1994, p. 139, no. 116. Another similar example of larger size inset with lapis lazuli, turquoise and white coral, in the collection of the Metropolitan Museum of Art, New York, is illustrated on the museum's website, no. 2002.255.

The gold dang (gold cicada hat ornament, 金璫 or 蟬璫) is one of the most significant ritual and status symbols in ancient Chinese headgear. From the Han through the Six Dynasties (particularly the Wei-Jin-Northern and Southern Dynasties), it embodied purity, moral integrity, rebirth, and elite privilege. This Eastern Jin (4th–5th century) gold filigree cicada ornament, though modest in size at only 4.2 cm high and weighing 7.46 grams, demonstrates exceptional craftsmanship and represents outstanding value as a “bargain” acquisition.

Historical Origin and Symbolic Meaning

The cicada motif dates back to Shang and Zhou ritual bronzes, symbolizing transformation (molting), resurrection, and immortality. By the Han dynasty, jade cicadas appeared on officials’ hats and in burial contexts (placed on the tongue of the deceased to aid the soul’s transcendence). Gold versions became fashionable in the Six Dynasties among imperial and court elites.

Its institutional use traces to the Warring States period, when King Wuling of Zhao adopted “Hu” (northern nomadic) attire and introduced sable-cicada decorations. After Qin conquered Zhao, the crown was granted to favored ministers. The system matured in Han-Jin times: the Hou Hanshu·Yufu Zhi records that Servants-in-Attendance (shizhong) and Regular Attendants (zhongchangshi) wore “gold dang with attached cicada motif and sable tail, called the Zhao Huiwen Crown.” The Jinshu·Yufu Zhi similarly states: “Servants-in-Attendance and Regular Attendants add gold dang, attach cicada as ornament, and insert sable hair.” Gold signifies unyielding strength, the cicada “dwells high and drinks only dew” (purity and detachment), and sable combines inner ferocity with outer gentleness—hence the famous “Diaochan Crown” (貂蟬冠).

In the turbulent Wei-Jin-Northern and Southern Dynasties, the ornament was awarded more freely to meritorious officials and even women (e.g., the cicada gold ornament from the tomb of Fan Xinrong, wife of a Former Liang official in Dunhuang), reflecting the breakdown of strict sumptuary rules. Cicadas also adorned the emperor’s Tongtian Crown as “Jin Boshan” (gold mountain-cicada ornament). Literary praise, such as Lu Yun’s Han Chan Fu (Cold Cicada Rhapsody), compares the insect’s virtues to those of a perfect gentleman who can serve the ruler and establish himself.

Object Characteristics and Craftsmanship

This piece consists of a shield-shaped bronze plaque overlaid with openwork gold foil. Raised gold wires and granules form a stylized yet lively cicada: turquoise-colored bead eyes (one or both may remain), simplified mouth and antennae, curled legs beneath spread wings, all framed by a linear border. The gold edges are serrated (pinked) and folded back for secure attachment. Malachite encrustations on the bronze add authentic patina from burial. The technique combines filigree, granulation, openwork, and inlay—hallmarks of refined Six Dynasties goldsmithing.

Comparable examples have been excavated from Eastern Jin tombs in the Nanjing area (e.g., Xianheguan Tomb No. 6, Nanjing University Beiyuan tomb). Small-scale pieces like this (around 4–5 cm) were practical attachments for the front of the crown, often paired with a sable tail. Larger museum pieces (e.g., Metropolitan Museum of Art with lapis, turquoise, and coral inlays) exist, but this compact version retains intimate elegance and imperial dignity.

Market and Collecting Value

Sold at Bonhams auction from a New York private collection (previously J. J. Lally & Co., 2006) with its fitted box, it realized US$28,160 (including premium). Given its rarity, historical importance, and fine condition, the price is highly attractive—especially for a complete, wearable-scale Six Dynasties gold cicada. Parallels are held in the Smithsonian (Dr. Paul Singer Collection), Uldry Collection (Zurich), Hakutsuru Museum (Japan), and others.

The artsaca.com “Northern Dynasties Notes” series offers excellent in-depth discussion of jin dang, tracing its evolution from cicada plaques to Jin Boshan, Huiwen Crown, and Tongtian Crown, integrating textual records with archaeology. This lot perfectly exemplifies the articles’ themes: a small yet potent embodiment of “gold’s firmness and cicada’s purity” in classical Chinese aesthetics and power symbolism.

In summary, this Eastern Jin gold filigree cicada hat ornament is far more than a delicate artifact. It encapsulates two millennia of cultural symbolism—rebirth, moral virtue, and elite status—within a tiny, exquisitely crafted form. Its modest size belies its profound historical depth, making it a true collector’s treasure worthy of appreciation and preservation.