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拍賣筆記 vol.77 春秋秦國:純金鏤雕九龍紋帶鉤,嘉德香港396萬港元成交 - Gold 'Nine Dragon' Garment Hook, 3.96m HKD, Guardian HK 2023


Audio cover
秦國金器:Nine Dragon Gold Garment Hook

這件來自春秋時期(公元前771-476年)的金帶鉤,是古代中國金工藝術中的一件傑作。全件純金鑄造,重達400克,不僅在材質與重量上令人印象深刻,更以其精美的鏤空工藝脫穎而出。作品的核心在於其動態豐富的構圖——九條螭龍巧妙地交織於器身之中。每一條龍均刻畫得極為精細:大耳、闊鼻、圓睜的眼睛以及獨角,龍身上則飾有細膩的粒狀連珠紋。其中部分龍形還呈現咬住小鹿或纏繞扭曲蛇身的動態,構成一幅充滿戲劇性張力的場景,充分展現了工匠們卓越的藝術想像力與鑄造技藝。


此件金帶鉤的獨特之處在於其罕見的全金製作,與常見的銅或鐵製帶鉤形成鮮明對比;更難能可貴的是,其背面並非凹陷設計,而是保持了完整的圓柱狀,這充分顯示出工藝技術的高超與創新。整件器物在體量、重量與結構上的突破,使其成為目前所見古代金帶鉤中最為出色且稀有的代表之一。



漏空的工藝與侯馬風格、還有楚地出土的鏤空香薰有藝術上的共同之處。





左:藍理捷薰 ; 右:吉賽爾薰


春秋 純金鏤雕九龍紋帶鉤

9 cm (3 1/2 in) long, 400g


來源:紐約Patricia Bauman 和 John Landrum Bryant舊藏

出版:《A Selection of Chinese Art from the Bauman-Bryant Collection》,紐約,2006年


估價 : HKD: 3,000,000 - 4,000,000

成交價: HKD: 3,960,000



帶鉤是古人束腰革帶上的鉤,流行於先秦至漢代,多用銅製,亦有用鐵或玉等製作者。《史記•齊太公世家》:「(管仲)射中小白帶鉤。」又稱「鮮卑」,《楚辭•大招》:「小腰秀頸,若鮮卑只。」王逸注:「鮮卑,袞帶頭也。」帶鉤不僅是實用器,還是身份與權力的象徵,也用作信物,所以王公貴族所配帶鉤極盡繁複華麗之能事,此件純金鏤空九螭龍帶鉤可謂個中代表。


春秋戰國時期的帶鉤多以螭龍作鉤頭,此件亦不例外,帶鉤為純金鑄造,鉤身作方形,以鏤空模鑄八條螭龍首尾纏繞而成,鉤身正面更有兩條螭龍口含金蛇作拉扯狀。九條螭龍皆大耳、寬鼻、圓眼、獨角,龍身飾連珠紋,鑄造極精。


這件帶鉤紋飾獨特,整體結構緊密,以流暢的線條生動逼真地展現出螭龍盤繞之氣勢,極盡奢華之美,實屬罕見的藝術佳作。這件帶鉤系純黃金質地,重達400克。鉤頸延伸圓轉弧彎,頭端作正視龍首狀,側C形雙耳,錐柱形立角,額中凸起,眉弓發達,眉心飾粟點紋,雙眼圓睜,瞳孔內凹,闊鼻,寬吻。鉤體主要由八條身軀連繞的蟠龍構成,採用對稱的圓雕鏤空設計,龍首造型與鉤首之龍大同小異,分作三排。上下排各有三龍,對稱相背布列,中間的兩龍口吐長舌,與鉤首之龍呈一線排列;四角之龍口吞小鹿,小鹿回首,呈驚恐無助狀。中排的兩龍相向噬咬一條蛇,蛇首外露,身體扭曲成幾字形。鹿、蛇掙扎之態,栩栩如生。龍身與蛇體均以兩條平行的粟點紋帶作裝飾,但粗細判然有別。鉤尾背側有一長方橋形鈕。通長9.2厘米,寬6.3厘米,厚3厘米,重400克(圖1)。這件金帶鉤系美國紐約鮑曼•布萊恩特私人藏品,2006年出版過圖錄。英國牛津大學Peter Northover博士曾對該器邊緣部分做過金屬成分檢測分析,認為帶鉤系用黃金加工而成,包含7.5%的銀以及其他微量元素的雜質。



帶鉤是古人衣著服飾常用的掛件,既可聯結革帶繫於腰間,也可繫束絲帶固定披肩或佩掛飾物。帶鉤材質常用銅、鐵,也有金、銀、玉、琉璃、水晶等,甚至還有多種材質集於一身的複合型器,光鮮華麗,極盡奢華,是佩帶者身份地位的重要標識。目前所知,金屬帶鉤的使用不晚於春秋,戰國秦漢時期廣為流行,魏晉以降幾近消失,這可能與穿衣從緊束到寬鬆的流行風尚的時代變化相適宜。直到明清時期,帶鉤才以仿古之物重新回歸,多用於賞賜把玩,原本的實用功能已被摒棄①。考古發現的黃金帶鉤數量較少,據統計僅有47件,器物造型以曲頸回首的各種動物形象為主,如龍、虎、蛇、鴨、馬、羊等,主體年代從春秋晚期到東漢早期,另有少數幾件出自明代遺存②。其中,可資用來比較的標本當首推2001年陝西鳳翔縣郭店鎮上郭店村SGM2發現的雙龍雙蛇金帶鉤③。上郭店金帶鉤的鉤首作龍首,鉤體為兩條龍蟠繞呈8字形,各自噬咬一條蛇,兩側露出蛇首,龍身飾以密集的粟點紋,鉤尾背側有一長方橋形鈕,長5厘米,寬2.8厘米,重約40克(圖2)。無論匠心獨具的構圖設計還是圓雕鏤空的工藝技法,甚至某些細部特徵如龍蛇形象、粟點紋飾等,兩者的藝術風格具有高度相似性,應是同一時代的黃金作品,具體屬於春秋晚期。不過,從個體大小、蟠龍數量及構設複雜程度來看,這件金帶鉤又遠勝於上郭店SGM2金帶鉤。與之類似的東周黃金製品,還有倫敦古董商埃斯肯納齊(Eskenazi)收藏的蟠龍形浮雕鏤空嵌綠松石金帶鉤,長6.9厘米(圖3)。紐約藍捷理(J.J.Lally)藝廊收藏兩件黃金飾牌,均透雕蟠螭紋,一件寬7.6厘米(圖4),另一件寬9.2厘米。


眾所周知,作為珍稀金屬的黃金色澤燦然華貴,耐腐蝕且不易褪色,深受古今世人喜愛。這件黃金帶鉤不僅時代久遠,而且構圖設計精巧,動物形象靈動活現,尤其個體大而厚重,在目前所見黃金帶鉤中首屈一指。目前市場上所見的黃金帶鉤全部為背面呈內凹狀,而此件背部為完整的圓柱狀,且重量位居首位,更彰顯了這件帶鉤完整的工藝技法及同類的最高水準。它很可能是春秋晚期秦國的黃金藝術珍品,不僅代表了中國傳統黃金工藝的上乘水準,而且是彰顯佩帶者身份等級的尊貴標識,正可謂「滿堂之坐,視鉤各異,於環帶一也」④。總之,該器對於研究中國古代金器尤其是春秋秦國金器具有重要的學術價值,兼具精緻巧妙的審美設計、高超卓越的工藝水準、尊貴奢華的社會地位於一體,因此也極富藝術收藏價值。


①王仁湘:《帶鈎概論》,《考古學報》1985年第3期。王仁湘:《善自約束——古代帶鈎與帶扣》,上海古籍出版社,2012年。王艷、李曉英:《帶鈎於魏晉南北朝時期數量驟減之原因探析》,《江蘇第二師範學院學報》2019年第3期。② 白宇:《金帶鈎考古學研究》,《文物天地》2021年第8期。③ 鳳翔縣博物館:《陝西鳳翔縣上郭店村出土的春秋時期文物》,《考古與文物》2005年第1期。鳳翔縣博物館:《鳳翔遺珍——鳳翔縣博物館藏品精萃》,三秦出版社,2012年。④(西漢)劉安編撰,陳廣忠譯注:《淮南子•說林訓》,中華書局,2012年,第1009頁。


上海博物館藏 同款 春秋金器 / Shanghai Museum, Spring and Autumn Period Gold Ornaments


春秋戰國金帶鉤FAQ


1. 什麼是帶鉤?在古代中國有何用途?

帶鉤(daigou)是古代必備的服飾配件,主要用於繫住腰帶或固定披掛衣物,也可懸掛其他飾品。帶鉤具有實用與象徵雙重功能,一方面用於調整穿著,另一方面則顯示佩戴者的社會地位。帶鉤使用的高峰時期大致從春秋時代一直延續到漢代。


2. 為何這件「九龍」金帶鉤如此與眾不同?

這件帶鉤有多項獨特之處。首先,它以純金打造,重量達 400 克,並以鏤空工藝刻畫出九條彼此纏繞的螭龍。這些龍形十分精細,部分龍口中還咬著鹿與蛇,呈現強烈的動態與張力,展現高超的雕鑄技巧。此外,與已知其他背部呈內凹的金帶鉤不同,這件帶鉤的背面為完整的圓柱狀,同時體型更大、重量更重,堪稱同類帶鉤中的翹楚。


3. 龍紋在這件帶鉤中有什麼意義?它們的形象如何呈現?

龍(尤其是螭龍)在古代中國藝術中常被視為權力與尊貴的象徵。此帶鉤所刻畫的九條螭龍耳大鼻闊、單角圓眼、身飾粒狀連珠紋,形成層次豐富的鏤空結構。龍之間互相纏繞,部分正在撕咬鹿或蛇,整體構圖生動激烈,充分彰顯了此帶鉤在權勢與地位象徵方面的非凡價值。


4. 古代帶鉤的常用材質是什麼?為何純金帶鉤如此罕見?

帶鉤常見的材質以銅、鐵為主,也有玉、銀、玻璃、水晶等製品。然而,黃金帶鉤數量極少,据考古資料顯示,已發現的古代金帶鉤僅約 47 件。這件金帶鉤在體量、重量、設計複雜度,以及背面為圓形凸面等方面都極為出眾,應是身分顯赫者的專用之物,因而顯得尤為珍罕。


5. 帶鉤在什麼時期最流行?為何後來逐漸式微?

帶鉤在春秋(公元前 771-476 年)至漢代(公元前 206-公元 220 年)間普遍流行。其後自魏晉(公元 220-420 年)時期起,因服飾趨向寬鬆,不再需要緊束腰帶,帶鉤的使用日漸減少。至明清時期,帶鉤以仿古形式再度出現,但多為觀賞或賞賜之用,已脫離實用功能。


6. 與中國其他類似遺物相比,「九龍」金帶鉤有何突出之處?

在已知的金帶鉤中,這件「九龍」帶鉤無論在重量、規格、工藝難度或藝術表現力上都十分突出。與陝西鳳翔上郭店出土的「雙龍雙蛇」金帶鉤相比,兩者雖有相似的鏤空技法和紋飾風格,但上郭店那件較小且構圖相對簡單。「九龍」帶鉤的整體體量與結構複雜度大幅超越其他同類實例,尤其是其圓柱狀背面設計,更顯得獨一無二。


7. 這件帶鉤對研究古代中國工藝與社會有何啟示?

「九龍」金帶鉤展示了春秋時期高超的金工鑄造與精細雕飾技術。如此精緻、奢華的製品說明當時社會對彰顯財力與地位的追求,並且具備充分條件來製作這類華麗器物,特別是作為秦國貴族顯示身分的象徵。此外,它的工藝與藝術價值也可為研究古代中國金器與社會階層提供重要參考。


8. 為何這件帶鉤對學術研究與藝術收藏都具備重要意義?

這件金帶鉤對學界而言,是研究中國古代金工技術、春秋時代藝術風格和社會等級制度的珍貴實物證據。從收藏角度看,其稀有度與獨特性,加上特別的來源與保存狀況,使之成為結合歷史、藝術與文化價值的罕見珍品,極具學術與收藏吸引力。



Gold “Nine Dragon” Garment Hook


PROVENANCE Patricia Bauman and John Landrum Bryant collection, New York


LITERATURE Selection of Chinese Art from the Bauman-Bryant Collection, New York, 2006


Sold at China Guardian Hong Kong for HKD 3,960,000


Spring and Autumn Period

Pure Gold Openwork Garment Hook with Nine Dragon MotifsLength: 9 cm (3 1/2 in.), Weight: 400 g


Provenance:

Formerly in the collection of Patricia Bauman and John Landrum Bryant, New York


Literature:

A Selection of Chinese Art from the Bauman-Bryant Collection, New York, 2006


Estimate:

HKD: 3,000,000–4,000,000

USD: 384,600–512,800


Hammer Price:

HKD: 3,960,000



Garment hooks (daigou 帶鉤) were used in ancient China to fasten the waist belt, prevalent from the pre-Qin era through the Han dynasty. They were most commonly made of bronze, though iron or jade examples also exist. The Records of the Grand Historian (Shiji 史記) mentions, “(Guan Zhong) shot and hit Xiaobai’s belt hook.” Another ancient term for a belt hook is “xianbei” (鮮卑). The poem “Summons for the Soul” (Da zhao 大招) in the Songs of Chu (Chuci 楚辭) states, “A slender waist and graceful neck, wearing a xianbei.” The Eastern Han commentator Wang Yi (王逸) explains, “xianbei refers to the ornamental head of a ceremonial belt.” Beyond its functional role, a belt hook was also a symbol of rank and power, sometimes serving as a token of trust. Consequently, those worn by nobles were often lavishly ornate. This pure gold openwork belt hook with nine twisting dragons (chi dragons 螭龍) is a quintessential example of such grandeur.


During the Spring and Autumn and Warring States periods, belt hooks often featured the motif of a chi dragon at the hook’s head. This example follows that tradition, cast entirely in gold. The main body is rectangular in cross-section and formed by eight chi dragons intertwined in openwork, while the front depicts two additional chi dragons each gripping a small gold serpent in their mouths. All nine dragons have large ears, broad noses, round eyes, single horns, and bodies adorned with beaded motifs. The casting is exceptionally fine. The overall composition is tightly integrated, and the flowing lines vividly capture the coiling momentum of the dragons, exuding a sense of luxurious splendor—an exceedingly rare artistic masterpiece.


This garment hook is crafted from pure gold and weighs 400 grams. The neck of the hook extends gracefully in a circular arc, ending in a forward-facing dragon head with ears set on the sides in a C-curve, a single upright horn, a raised brow, and a prominently contoured forehead. The eyes are round with recessed pupils, and the nose and muzzle are broad. The main body comprises eight interlaced dragons in an openwork design, arranged in three rows. The top and bottom rows each have three dragons, placed symmetrically back-to-back. The pair in the center extends their tongues, lining up directly with the dragon head at the tip of the hook. At the four corners, each dragon is shown biting a small deer, depicted looking back in terror. In the central row, two dragons face one another, fiercely biting a snake with its head exposed, its twisting body contorted into a z-shaped curve. The deer and snake are rendered so vividly that their struggles appear lifelike. Both the dragons and the snake are decorated with parallel beaded bands, though of distinctly different widths. A rectangular arched knob is placed on the back at the hook’s tail. The piece is 9.2 cm in length, 6.3 cm in width, 3 cm thick, and weighs 400 g (see Fig. 1). Formerly in the collection of Patricia Bauman and John Landrum Bryant in New York, it was published in a 2006 catalog. Dr. Peter Northover of the University of Oxford performed compositional testing on a portion of the hook’s edge; the results indicate that this garment hook is made of gold containing 7.5% silver and traces of other minor elements.



Belt hooks were an essential accessory in ancient attire, used to fasten leather belts at the waist or to secure a draped garment or ornament. Common materials include bronze and iron, though gold, silver, jade, glass, crystal, and even composite multi-material types also exist—often ostentatious objects that signified the status of the wearer. Archaeological evidence suggests that metal belt hooks were in use no later than the Spring and Autumn Period and reached widespread popularity during the Warring States, Qin, and Han dynasties. From the Wei–Jin period onward, they largely disappeared, likely in tandem with shifts in clothing styles from tight-fitting garments to looser attire. Belt hooks later reemerged in the Ming and Qing dynasties as archaism-inspired objects, commonly used for imperial bestowal or as collector’s pieces, having lost much of their practical function.¹


The number of excavated gold belt hooks is quite small—fewer than 50 examples have been documented.² Most are shaped in a characteristic “turning neck and looking back” animal form, often featuring dragons, tigers, snakes, ducks, horses, or sheep, dating primarily from the Late Spring and Autumn period to the Early Eastern Han, with a few from the Ming dynasty. One closely comparable example is a double-dragon-double-snake gold belt hook discovered in 2001 at SGM2 in Shangguodian Village, Guodian Town, Fengxiang County, Shaanxi.³ On that hook, a dragon’s head forms the tip, and two dragons coil in a figure-eight configuration, each biting a snake—whose heads extend slightly from both sides—while the dragons’ bodies are also adorned with closely packed beaded motifs. A rectangular arched knob on the back of the tail completes the design. It measures 5 cm in length, 2.8 cm in width, and weighs about 40 g (see Fig. 2). The compositional innovation, openwork carving technique, and details such as the depictions of dragons, snakes, and the beaded motifs all show a remarkable stylistic resemblance, indicating that both hooks likely date to the late Spring and Autumn Period. However, in terms of size, complexity, and the number of coiling dragons, the gold belt hook featured here surpasses the Shangguodian SGM2 example by far.


Other comparable Eastern Zhou gold artifacts include a gold belt hook with an openwork coiled dragon design inlaid with turquoise, formerly in the collection of the London dealer Eskenazi, measuring 6.9 cm in length (Fig. 3), as well as two gold openwork plaques with chi dragon motifs housed at the J. J. Lally & Co. gallery in New York, measuring 7.6 cm and 9.2 cm in width respectively (Fig. 4).

As is well known, gold—prized since antiquity—has a brilliant sheen, strong resistance to corrosion, and does not easily tarnish, attributes that have made it universally cherished. This gold belt hook not only spans a great antiquity but also features a refined, lively composition. The animal forms are portrayed with remarkable dynamism, and the piece itself is distinguished by its substantial size and weight. It is one of the largest and heaviest among known gold belt hooks. All other known examples have a concave backside, whereas this piece has a fully rounded back and ranks first in weight, reflecting the consummate craftsmanship of its time. Very likely a masterpiece of Qin goldwork from the Late Spring and Autumn Period, it epitomizes the finest level of traditional Chinese goldsmithing and would have served as a prestigious emblem of its owner’s rank and status—aptly capturing the sentiment from the Huainanzi (淮南子): “Everyone in the hall sees that the hooks differ; yet each is still bound by the same belt.”⁴


In summary, this object holds significant academic value for the study of ancient Chinese gold artifacts, particularly those of the Spring and Autumn Qin state. It integrates exquisite aesthetic design, superb craftsmanship, and lofty social significance, making it highly desirable for both scholarly research and art collection.


Notes

  1. Wang Renxiang, “A General Discussion of Belt Hooks” (帶鈎概論), Acta Archaeologica Sinica (考古學報), 1985, no. 3. See also Wang Renxiang, On Restraint: Ancient Belt Hooks and Belt Buckles (善自約束——古代帶鈎與帶扣), Shanghai Ancient Books Publishing House, 2012; Wang Yan and Li Xiaoying, “Analysis of the Abrupt Decrease in Belt Hooks During the Wei, Jin, and Northern and Southern Dynasties” (帶鈎於魏晉南北朝時期數量驟減之原因探析), Journal of Jiangsu Second Normal University, 2019, no. 3.

  2. Bai Yu, “Archaeological Research on Gold Belt Hooks” (金帶鈎考古學研究), Relics and Museology (文物天地), 2021, no. 8.

  3. Fengxiang County Museum, “Spring and Autumn Artifacts Unearthed at Shangguodian Village, Fengxiang County, Shaanxi” (陝西鳳翔縣上郭店村出土的春秋時期文物), Archaeology and Cultural Relics (考古與文物), 2005, no. 1. Also Fengxiang County Museum, Treasures from Fengxiang: Selected Artifacts from the Fengxiang County Museum (鳳翔遺珍——鳳翔縣博物館藏品精萃), Sanqin Publishing, 2012.

  4. (Western Han) Liu An, ed., with annotations by Chen Guangzhong, Huainanzi • Shuo Lin Xun (淮南子·說林訓), Zhonghua Book Company, 2012, p. 1009.



Frequently Asked Questions about the Ancient Chinese Gold "Nine Dragon" Garment Hook


What is a garment hook (帶鉤), and what was its purpose in ancient China? Garment hooks (daigou) were essential accessories used to fasten belts at the waist or secure draped garments or ornaments. They served both practical and symbolic roles, indicating the wearer's social status. While functional, they were also items of personal adornment that could display the wearer's wealth and power. They were most common from the Spring and Autumn Period through the Han Dynasty.


What is unique about the gold "Nine Dragon" garment hook described in the text? This particular garment hook stands out due to several factors. It's crafted from pure gold, weighs 400 grams, and features an intricate openwork design with nine intertwined dragons (chi dragons). The dragons are depicted in great detail, some biting deer and snakes, showcasing a high degree of artistic skill. Furthermore, unlike other known gold belt hooks with concave backs, this one has a fully rounded back, making it a unique and exceptional piece. It is also one of the largest known examples.


What is the significance of the dragon motif in this garment hook, and how are the dragons depicted? The dragon motif, especially the chi dragon, was common in ancient Chinese art and often associated with power and nobility. In this garment hook, nine chi dragons are meticulously rendered with details such as large ears, broad noses, round eyes, and single horns. Their bodies are adorned with beaded designs. The composition is dynamic, with dragons coiling and biting snakes and deer, creating a scene of active conflict and dramatic intensity. The complexity and vitality of the dragon depiction emphasize the object’s status as a symbol of power and prestige.


What materials were typically used to make garment hooks, and why is this gold example so rare? While garment hooks were commonly made from bronze and iron, other materials like jade, silver, glass, and crystal were also employed. However, gold garment hooks are exceedingly rare. Only about 47 excavated gold examples are known, making this piece, due to its size, composition, craftsmanship, and unique rounded back, highly exceptional among its kind and likely indicative of high status.


What was the typical time period when these belt hooks were in use, and why did their use decline? Belt hooks were widely used from the Spring and Autumn Period (771-476 BC) through the Han Dynasty (206 BC-220 AD). Their popularity declined from the Wei-Jin period (220-420 AD) onwards, likely due to changes in fashion, where looser, less belted garments became the norm. They experienced a revival later during the Ming and Qing Dynasties, but as collector's pieces or gifts, not as functional accessories.


How does the "Nine Dragon" gold garment hook compare to other similar artifacts found in China? The "Nine Dragon" garment hook is considered exceptional even among other known gold belt hooks. A notable comparative piece is the double-dragon-double-snake gold belt hook from Shangguodian, which shares stylistic similarities in terms of dragon depiction and beaded patterns, but it is smaller and less complex. The "Nine Dragon" hook stands out due to its larger size, weight, intricate design, and use of openwork technique, along with its rounded back. It also surpasses other examples in size and complexity.


What does the study of this garment hook reveal about ancient Chinese craftsmanship and society? The "Nine Dragon" garment hook reflects the advanced goldsmithing techniques of the Spring and Autumn Period, showcasing sophisticated casting methods and meticulous detail in the design and execution. It suggests a society that valued wealth and status, using high-quality, ornate accessories to display rank and power. The sheer scale and complexity of the artifact testify to the resources and artistry available at the time, most likely the Qin state.


What is the significance of this garment hook for both scholarly research and art collection today? This gold garment hook is significant for both scholarly research and art collecting because it is an invaluable artifact for understanding ancient Chinese gold-working techniques, the artistic styles of the Spring and Autumn period, and the social hierarchies of the time. As a rare and exceptional piece, it also serves as a very desirable collector's item, representing a convergence of artistry, history, and cultural heritage. Its provenance and unique features make it an important subject of study for experts in Chinese art and history.



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