青銅筆記 vol.10 羊觥：藤田美術館舊藏，紐約佳士得2712.75萬美金，人民幣2億元 - Fujita Ram Gong, Christie’s 2017 sold for 27 million USD
- SACA
- Aug 28, 2024
- 20 min read
Updated: Jan 31
此器物為一件極具代表性的商代晚期（約公元前13世紀至前11世紀）青銅羊形酒器，原藏於大阪藤田美術館，2017年於紐約佳士得以27,127,500美元成交。它在藝術史與考古學領域皆具有極高的研究與收藏價值。
圓雕動物形器是商周青銅器中最爲珍罕的一個品類，歷來被鑑藏家視若拱璧。本件羊觥造型生動，裝飾華麗，屢經著錄、展覽，誠為商代青銅器中的名品。
諸多館藏例中獨缺羊形，是以本件藤田羊觥被作爲一件標準器被收錄在《中國青銅器全集》中。值得指出的是，羊這一題材在商代南方青銅器中占有舉足輕重的地位，著名的例子如湖南寧鄉出土現藏中國國家博物館的四羊方尊以及兩件分別藏於大英博物館和東京根津美術館的雙羊尊。
Christie’s specialist Vicki Paloympis with A highly important and extremely rare bronze ritual ram-form wine vessel, offered in Important Chinese Art from the Fujita Museum on 15 March 2017 at Christie’s in New York
常見問答：古代中國青銅羊形酒器（藤田羊觥）
1. 什麼是藤田羊觥？它為何如此重要？
答：藤田羊觥（Fujita Ram Gong）是一件極為罕見且重要的商代晚期（公元前13－11世紀）青銅禮器，用於盛酒或行禮。它的重要性在於：
其造型為一隻完全三維立體的公羊，這在商代青銅器中極為少見。多數商代青銅器的動物形象通常具幻想性，或以半抽象的怪獸形象（如饕餮）呈現。
在同時期的羊形器中，藤田羊觥可謂獨步一時，世界各大收藏中都少見同類作品，故此器堪稱學者與藏家研究、鑑定的參考典範。
它呈現了極為精細的自然主義雕塑風格，並配合華麗的裝飾紋飾，堪稱商代青銅鑄造工藝的巔峰，也凸顯了「南方青銅文化」在商代時的重要性。
2. 與其他商代動物形青銅器相比，藤田羊觥有何獨特之處？
答：藤田羊觥的獨到之處，在於其逼真的羊形刻畫與豐富多樣的紋飾結合，彰顯自然與神異融合的藝術特色。
解剖細節：它對羊的眼部、鼻孔（常見的「逗號」形鼻孔）以及羊角紋理皆有高度寫實的表現。
華麗裝飾：器身佈滿神獸紋，包括老虎、鳥、夔龍等，底部以雷紋（leiwen）為背景。這些神獸形象既增添儀式感，也帶有神祕與象徵意涵。
額頭處的菱形裝飾對應了饕餮（taotie）面紋的結構，呼應整體商代青銅禮器常見的圖騰語彙。
3. 在商代青銅器中，羊的象徵意義是什麼？
答：羊在商代青銅器，特別是南方地區（長江流域）的器物中，具有相當重要的地位。著名的例子包括四羊方尊以及雙羊尊等。
雖然學術界對羊的確切象徵涵義尚存爭論，但它們大量出現在祭祀或禮器中，顯示在商代社會與宗教祭祀中，羊可能與祭獻、財富或祖先崇拜有所關聯。
羊形青銅器常作為禮器使用，也可能是王室或貴族社會地位的象徵。
4. 藤田羊觥可能的鑄造地點為何？與其他同時期青銅器有何關聯？
答：根據其紋飾與風格，藤田羊觥很可能出自「南方商文化圈」的長江流域，而非傳統上商文化中心的安陽一帶。
造型與紋飾：胸部的虎紋、夔龍的細密刻紋，以及強調自然主義的寫實風格，都顯示與南方出土的動物形青銅器有一定共通性。
南方青銅文化：在湖南、江西等地，亦曾出土多件與此風格類似的動物形青銅器，顯示商代晚期長江中下游地區形成了獨特的鑄造傳統。
5. 藤田羊觥的主要紋飾有何特點？這些紋飾象徵什麼？
答：藤田羊觥上佈滿結合自然與神話元素的紋飾，主要包括：
鳥紋：羊臀部與蓋部出現大幅鳥紋，鳥可能在商代文化中扮演神靈或祖先的使者角色。
虎紋：胸部有老虎圖案，常被視為守護或驅邪的象徵。
夔龍與饕餮：夔龍與饕餮（包含額頭菱形裝飾與蓋部的饕餮面）在商代是常見的重要神怪形象，象徵力量與保護，也與儀式和祖先崇拜相關。
雷紋（leiwen）：作為背景紋飾，突顯主體神獸或動物形象，並為整件器物增添莊嚴感與神祕氣氛。
6. 從技術角度看，藤田羊觥展現了商代鑄造匠師的哪些高超工藝？
答：藤田羊觥是商代青銅器工藝高峰的最佳佐證：
分段鑄造技術：此器由數個部分鑄造再組合而成，展現了模製分段、合範技術的嫻熟。
精細的自然刻畫：對羊的體態與面部特徵的準確刻劃，顯示出對解剖與觀察細節的深厚理解。
浮雕與淺浮雕相結合：華麗的淺浮雕紋飾清晰細膩，並與器物結構完美結合，極富層次感。
修飾工序精緻：紋飾輪廓清楚，邊緣銳利，顯示出後期打磨與修飾技巧的高水準。
7. 藤田羊觥的來源（傳承）如何？為什麼它的著錄與展覽紀錄如此重要？
答：
珍稀與完整的傳承：藤田羊觥在1940年之前已入藏大阪藤田美術館，其所有權與收藏史相對明確，極大提升了其學術與市場價值。
文獻與展出：此器曾多次刊載於重要的收藏與研究出版物，並在日本參與過大型展覽。這些公開記錄與學術著錄鞏固了它在商代青銅器研究領域的地位。
拍賣紀錄：此器於2017年在紐約佳士得以超過2,700萬美元的價格成交，創下同類型青銅器的重要里程碑。
8. 還有哪些類似的動物形酒器可供比較？它們都收藏於哪些地方？
答：商代動物形青銅器十分罕見，僅存的幾件大多珍藏於各大博物館以及少數私人收藏：
牛形、象形、豬形的尊或觥：如湖南省博物館、上海博物館、哈佛藝術博物館、華盛頓特區的弗瑞爾藝廊（Freer Gallery）、巴黎吉美博物館（Musée Guimet）、舊金山亞洲藝術博物館等皆有典藏。
私人收藏的同類器物更為稀少，因此每一件都極具學術與市場關注度。
藤田羊觥因稀有度與重要性，成為研究這類立體動物形青銅禮器的標竿案例。
藤田羊觥作為商代晚期一件形制完整、造型精美、裝飾豐富的三維動物形青銅器，展示出當時在南方地區形成的成熟青銅鑄造工藝及獨特的審美特質。其豐富的傳承記錄、在國際拍賣市場所創造的高價紀錄，皆使它成為海內外學者與藏家爭相研究、關注的重要焦點。它為我們理解商代藝術的地域差異、宗教祭祀禮儀以及工藝技術，提供了不可或缺的寶貴素材。
其他商代觥：
商代「羊」母題
▲ 「雙羊尊」，根津美術館 藏，根津嘉一郎舊藏
▲ 「雙羊尊」，大英博物館 藏，Ex-Eumorfopoulos（尤摩舊藏）
工匠以奇幻的形式和象徵性的圖案來裝飾這件器皿，同時也捕捉了真實公羊的解剖特徵，例如「逗點」形的鼻孔、眼眶拉長的眼睛和有平行稜線的犄角。
古代動物造型的青銅器非常罕見。這件青銅器的特殊之處在於其自然的雕刻質感與完整的表面修飾，包括奇異的動物、老虎、鳥類，以及公羊額頭上的菱形印記。風格相近的青銅器出土於揚子江地區，相信是在南方鑄造的。這隻公羊是揚子江地區青銅器製作精良的傑出典範。
While the craftsman embellished the vessel with fantastic forms and symbolic patterns, the design also captures anatomical features of a real ram, such as its "comma"-shaped nostrils, eyes with elongated orbits, and horns with parallel ridges.
Description
Ancient bronze vessels in animal form are rare. This bronze is exceptional in its naturalistic sculptural quality and fully embellished surface that includes fantastic animals, tigers, birds, and a diamond-shaped mark on the ram’s forehead. Bronzes comparable in style were excavated in the Yangzi River region and are believed to have been cast in the south. The ram is a stellar example of the sophisticated bronze production in the Yangzi River region.
商晚期 青銅羊觥
8 5/8 in. (22 cm.) long, Japanese double wood box
成交價：美元 27,127,500
估價：美元 6,000,000 – 美元 8,000,000
拍品終止拍賣:
2017年3月15日
來源
大阪藤田美術館珍藏，入藏於1940年前。
出版
《藤田美術館所藏品圖錄》，卷一，藤田美術館，大阪，1954年，編號74。
《中國殷周銅器展》，日本經濟新聞社，東京，1958年，編號16。
《古代中國青銅器名品展》，日本經濟新聞社，大阪，1960年，編號18。
梅原末治，《日本蒐儲支那古銅精華》，卷四，大阪，1961年，編號267。
貝塚茂樹編，《世界美術全集：中國1，殷、周、戰國》，卷12，東京，1962年，編號9。
《東洋美術：東洋館開館紀念》，東京國立博物館，1968，62頁，編號245。
水野清一，《東洋美術：銅器》，卷五，東京，1968年，圖47。
《藤田美術館名品圖錄》，藤田美術館，東京，1972年，編號91。
林巳奈夫，《殷周時代青銅器的研究》，卷一（圖版），東京，1984年，373頁，匜24。
樋口隆康， 圓城寺次郎編，《中國青銅器百選》，東京，1984年，編號20。
容庚，《殷周青銅器通考》，北京，1984年（2012年再版），50頁，圖74。
Robert W. Bagley，《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，華盛頓，1987年，420頁。
《中國美術全集：工藝美術編4》，北京，1990年，114頁，編號123。
朱鳳瀚，《古代中國青銅器》，天津，1995，195頁，圖3.34.4。
《中國青銅器全集：商（4）》，卷4，北京，1998年，89頁，編號90。
馬承源，《中國青銅器》，上海，2003年，233頁，圖13。
小南一郎， 《古代中国天命と青銅器》，京都，2006，頁59。
展覽
東京，日本經濟新聞社，《中國殷周銅器展》，1958年11月25日至12月7日。
大阪，日本經濟新聞社，《古代中國青銅器名品展》，1960年8月30日至9月11日。
東京國立美術館，《東洋美術展：東洋館開館紀念》，1968年10月12日至12月1日。
觥作羊形，四足立地，背部設蓋，以子口與腹扣合。羊首向前，大而粗壯的羊角彎曲上卷。眼後向兩側斜出一對小耳。蓋面隆鼓，脊上爬一片狀夔龍，兩側飾反向的夔紋。蓋脊尾飾一片狀立鳥，尾下垂接蓋。蓋尾飾饕餮紋，以立鳥之左右對稱展開。腹部前胸兩側置頭向上的淺浮雕虎紋，腹飾大鳳鳥紋，均以細密雲雷紋襯地。
圓雕動物形器是商周青銅器中最爲珍罕的一個品類，歷來被鑑藏家視若拱璧。本件羊觥造型生動，裝飾華麗，屢經著錄、展覽，誠為商代青銅器中的名品。過往拍賣記錄中唯一一件完整的商代青銅動物形器是紐約佳士得於1988年12月1日拍賣的一件商中期青銅牛尊，拍品143號，在該場拍賣中創造了亞洲藝術品拍賣之世界紀錄。類似於藤田羊觥的商代動物形四足觥極爲罕見，近似例包括兩件器身造型、紋飾與藤田羊觥十分相似但蓋前部作異獸形首（或為象首）的鳳紋觥，一件為賽克勒舊藏，現藏於華盛頓弗利爾及賽克勒美術館，見貝格立著1987年出版《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，編號74；另一件出土於陝西洋縣張家村，載於1988年北京出版《中國青銅器全集》，卷4，編號91。
除此以外見諸出版的商代四足動物形器凡十二例。湖南省博物館藏有一件鳳紋犧觥，一件象尊，和一件豕尊，分別見前揭書編號87，130，及135。
▲ 「青铜豕尊」，商代晚期，湖南省博物馆 藏 / Vessel in the shape of a boar Late Shang period, 12th century BCE Bronze. Height: 40 cm. Unearthed 1981 at Xiangtan, Hunan
上海博物館藏有一件鳳紋犧觥，失蓋，現有蓋是以湖南省博藏鳳紋犧觥蓋為原型複製的，載於陳佩芬著2004年上海出版《夏商周青銅器研究：夏商篇》，336至337頁，編號163。安陽花園莊東地亦出有一件牛尊，鑄有「亞長」族徽，見2008年昆明出版《殷墟新出土青銅器》，158至161頁。
哈佛大學博物館藏有一件牛形觥，其表面光素無紋，見《中國青銅器全集》，卷4，編號89。另有一件素面的牛觥，載於梅原末治，《日本蒐儲支那古銅精華》，卷四，大阪，1961年，編號266。
▲ 象尊，商代晚期，1975年湖南醴陵出土
華盛頓弗利爾及賽克勒美術館還藏有一件象尊，帶蓋，蓋上立一只小象，見前揭書，編號129。巴黎吉美博物館藏有一件象尊，大小與一只幼年亞洲象相若，十分壯觀，載於前面揭書，編號131。安陽殷墟婦好墓出有一對司母辛四足觥，其造型較爲抽象，無法辨識具體為何種動物，載於北京1980年出版《殷墟婦好墓》，59頁及彩版9。
舊金山亞洲藝術博物館藏有一件小臣艅尊，作犀牛形，器内鑄有長篇銘文，記載了商王征伐人方之事，為最後一位商王帝辛時器，圖見《中國青銅器全集》，卷4，編號134。上述諸多館藏例中獨缺羊形，是以本件藤田羊觥被作爲一件標準器被收錄在《中國青銅器全集》中。值得指出的是，羊這一題材在商代南方青銅器中占有舉足輕重的地位，著名的例子如湖南寧鄉出土現藏中國國家博物館的四羊方尊以及兩件分別藏於大英博物館和東京根津美術館的雙羊尊，分別見前揭書，編號115，132，及133。
▲ 艾弗里·布倫戴奇（1887 - 1975），美國體育運動員、 建築業界中的商業巨賈、 國際奧委會首位非歐洲主席（1952 －1972）。 布倫戴奇精通田徑、籃球、鐵餅、十項全能， 曾參加 1912年斯德哥爾摩奧運會，1914年、1916年、1918年三次獲美國田徑全能冠軍。
關於小臣艅尊，參考SACA學會文章：《天降大任：从伦敦中国艺术展览会到旧金山亚洲艺术博物馆 - the Avery Brundage Collection》
商周動物形器數量稀少，究其原因乃當日青銅藝術注重創造如饕餮、龍、鳳等幻想動物而較少表現寫實動物所致。本件羊觥塑造生動，神形兼備，則是這一時期少有的重視寫實的作品。製作者將羊首作素面無紋處理，恰如其分的突出了羊的骨骼結構。
羊鼻微微上揚，兩側各以一“逗號”形的陰綫簡練的勾畫出鼻孔；面部顴骨突出，一對「臣」字形大眼炯炯有神；雙耳聳立，雙角卷曲向外，角上的紋飾真實再現了實際羊角上的紋路。
與之相比，前述四羊方尊和兩件雙羊尊的羊首造型幾乎為圓錐形，寫實性稍遜一籌。藤田羊尊高超的寫實表現亦體現在器身綫條的起伏變化上，這一處理使羊的體積感躍然器上，形態更加自然、生動。另外值得一提的是藤田羊觥後腿上凸出的踝關節，對這一細節特徵的捕捉正體現了製作者非凡的寫實技巧。縱觀商周時期的動物形器，其寫實程度鮮有能與藤田羊觥比肩者。
商代青銅製作者的創造力不僅僅局限於模仿和再現。藤田羊觥額頭上的菱形紋暗示著其與一般動物的區別，這種菱形紋飾是饕餮這一商周時期主要神/獸紋飾額頭上所普遍具有的。而其身上裝飾的多種想像動物紋飾則將其與一般的動物進一步區分開來。
羊身體兩側各裝飾著一個誇張的大鳳鳥紋，鳳鳥尾羽華麗，捲曲向上，佔據著羊臀部的空間；背部後方飾饕餮紋，並沿其中線站立著夔龍和立鳥。該夔龍身飾直綫條紋，這種裝飾多見於南方青銅器，如前述湖南省博物館藏象尊和華盛頓弗利爾博物館藏象尊都有這種直綫紋的夔龍。另外值得注意的是羊觥胸前的一對虎紋。
虎紋亦是商代南方青銅器上流行的裝飾母題，以虎作爲裝飾集中見於江西新淦大洋洲所出青銅鼎的鼎耳附飾，見2006年北京出版《商代江南》，30至34頁，38至41頁，162至163頁，166至168頁等諸多例子。
上述湖南省博物館藏象尊亦飾有虎紋，其與本件羊觥上的虎紋近似，均為頭上尾下豎直的側視構圖。而少數安陽青銅器上亦裝飾有虎紋，例如婦好墓中出土的婦好大鉞，見北京1980年出版《殷墟婦好墓》，彩版十三以及上述亞長牛尊。
這些安陽銅器上的虎紋可能為從南方舶來的母題。
A HIGHLY IMPORTANT AND EXTREMELY RARE BRONZE RITUAL RAM-FORM WINE VESSEL, GONG
LATE SHANG DYNASTY, 13TH-11TH CENTURY BC
Price realised
USD 27,127,500
Estimate
USD 6,000,000 – USD 8,000,000
Estimates do not reflect the final hammer price and do not include buyer's premium, and applicable taxes or artist's resale right. Please see Section D of the Conditions of Sale for full details.
Closed:
15 Mar 2017
A HIGHLY IMPORTANT AND EXTREMELY RARE BRONZE RITUAL RAM-FORM WINE VESSEL, GONG
LATE SHANG DYNASTY, 13TH-11TH CENTURY BC
The animal is cast standing foursquare and fitted with an elongated cover ending in a ram's head with prominent C-shaped horns. The top of the cover is decorated with a pair of kui dragons and a taotie mask and is set with a standing kui dragon with curling tail and a small standing bird at the center. The body is cast on each side with a large crested bird, its clawed foot extending downward onto the legs of the ram and its elongated tail curling around the ram's haunch. The chest of the ram is further decorated with a pair of crouching tigers. All of the decoration is cast in shallow relief and reserved on leiwen grounds. The patina is of yellowish-brown color.
8 5/8 in. (22 cm.) long, Japanese double wood box
PROVENANCE
Fujita Museum, Osaka, acquired prior to 1940.
LITERATURE
Masterpieces in the The Fujita Museum of Art, vol. 1: Arts and Crafts, Fujita Museum, Osaka, 1954, no. 74.
Chugoku In Shu dokiten (Exhibition of Chinese Bronzes from Yin and Zhou Dynasties), Nihon Keizai Shimbun Inc., Tokyo, 1958, no. 16.
Kodai Chugoku Seidoki Meihinten (Exhibition of Masterpieces of Ancient Chinese Bronzes), Nihon Keizai Shimbun Inc., Osaka, 1960, no. 18.
Sueji Umehara, Nihon shucho shina kodo seika (Selected Relics of Ancient Chinese Bronzes from Collections in Japan), vol. 4, Osaka, 1961, no. 267.
Shigeki Kaizuka, ed., Sekai Bijutsu Zenshu: Chugoku 1, Yin, Shu, Sengoku (Complete Collection of the World’s Art: China1 Yin, Zhou, and the Warring States), vol.12, Tokyo, 1962, no. 9.
Exhibition of Eastern Art: Celebrating the Opening of the Gallery of Eastern Antiquities, Tokyo National Museum, 1968, p. 62, no. 245.
Seiichi Mizuno, Asiatic Art in Japanese Collections: Chinese Archaic Bronzes, vol. 5, Tokyo, 1968, pl. 47.
Masterpieces in The Fujita Museum of Art, Fujita Museum, Tokyo, 1972, no. 91.
Minao Hayashi, In Shu jidai seidoki no kenkyu (Conspectus of Yin and Zhou Bronzes), vol. 1 (plates), Tokyo, 1984, p. 373, yi no. 24.
Takayasu Higuchi, Jiro Enjoji, ed., Chugoku seidoki hyakusen (100 Selected Chinese Archaic Bronzes), Tokyo: Nihon Keizai Shimbun, 1984, no. 20.
Rong Geng, Yin Zhou qingtongqi tonglun (Conspectus of Yin and Zhou Bronzes), Beijing, 1984 (reprinted in 2012),p. 50, pl. 74.
Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington D.C., 1987, p. 420.
Zhongguo meishu quanji: gongyimeishu 4, qingtong (I), (Complete Collection of Chinese Art: Works of Art 4, Bronze 1), Beijing, 1990, p. 114, no. 123.
Zhu Fenghan, Gudai zhongguo qingtongqi (Ancient Chinese Bronzes), Tianjin, 1995, p. 195, fig. 3.34.4.
Zhongguo qingtongqi quanji: Shang (4) (Complete Collection of Chinese Bronzes: Shang), vol.4, Beijing, 1998, p. 89, no. 90.
Ma Chengyuan, Zhongguo qingtongqi (Chinese Bronzes), Shanghai, 2003, p. 233, fig. 13.
Ichirou Kominami, Kodai Chugoku Tenmeito Seidouki (Ancient China, Decree and Archaic Bronzes), Kyoto, 2006, p. 59.
EXHIBITED
Tokyo, Nihon Keizai Shimbun Inc., Chugoku In Shu dokiten (Exhibition of Chinese Bronzes from Yin and Zhou Dynasties), 25 November-7 December 1958.
Osaka, Nihon Keizai Shimbun Inc., Kodai Chugoku Seidoki Meihinten (Exhibition of Masterpieces of Ancient Chinese Bronzes), 30 August-11 September 1960.
Tokyo National Museum, Exhibition of Eastern Art: Celebrating the Opening of the Gallery of Eastern Antiquities, 12 October to 1 December 1968.
Fully sculptural animal-form vessels are the rarest forms of Chinese archaic bronzes. The only complete Shang example that appears to have been offered at auction is a buffalo-form zun sold at Christie’s New York, 1 December 1988, lot 143. The Fujita gong is particularly charming for its thoroughly prepossessing ram form. Compare two other gong vessels of related form, but with highly stylized elephant heads: one in the collection of the Arthur M. Sackler Gallery, Washington D.C., illustrated by Robert W. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, Cambridge: Harvard University Press, 1987, pp. 416-420, no. 74; the other excavated in 1983 from Zhangjia village, Yangxian county, Shaanxi province, illustrated in Zhongguo qingtongqi quanji (Compendium of Chinese Bronzes), Beijing, 1998, vol. 4, p. 90, no. 91. The ram had special prominence amongst southern bronzes, i.e. bronzes discovered in and likely to have been cast in the Yangzi River region. The most notable examples are the four-ram zun from Ningxiang, Hunan province, now in the National Museum of China, and two double-ram zun in the Nezu Museum, and the other in the British Museum (see ibid., nos. 115, 132, and 133 respectively).
There are twelve other known Shang quadruped animal-shaped vessels, including four buffalos, three elephants, two mythical animals, one boar and one rhinoceros, all in museum collections. The Hunan Museum holds three quadruped animal vessels: a gong of buffalo form, a zun of elephant form, and another zun of boar form, all found in Hunan province and illustrated ibid., no. 87, 130, and 135; the latter two vessels were selected for the exhibition ‘Min’ Fanglei and Selected Bronze Vessels Unearthed from Hunan, Shanghai Museum, 2015, cat. nos. 8 and 9. The Shanghai Museum holds a quadruped animal gong, with a later-made cover copied after the cover of the Hunan buffalo-form gong, illustrated by Chen Peifen in Xia Shang Zhou qingtongqi yanjiu (Research of the Xia Shang Zhou Bronzes), Shanghai, 2004, pp. 336-337, no. 163. A buffalo-form zun inscribed with a two-character clan name, Ya Chang, was found in the Huayuanzhuang Dongdi M54, and is illustrated by Yue Hongbin ed., Ritual Bronzes Recently Excavated in Yinxu, Kunming, 2008, pp. 158-161. A buffalo-form gong, but lacking surface decoration, is in the Harvard Art Museums Collection, Cambridge, and illustrated in Zhongguo qingtongqi quanji (The Complete Collection of Chinese Bronzes), Beijing, 1998, vol. 4, no. 89. Another plain buffalo-form gong is illustrated by Sueji Umehara in Nihon shucho shina kodo seika (Selected Relics of Ancient Chinese Bronzes from Collections in Japan), vol. 4, Osaka, 1961, no. 266. An elephant-form zun with a cover surmounted by a small elephant is in the collection of the Freer Gallery, Washington D.C., and illustrated ibid, no. 129. Another elephant-form zun, but of unusually large size is in the collection of the Musée Guimet, Paris, illustrated ibid, no. 131. A pair of mythical horned animal gong found in the Fuhao tomb in Anyang city is illustrated in the Tomb of Lady Hao at Yinxu in Anyang, Beijing, 1980, fig. 40 and 41, col. pl. 9. A rhinoceros-form zun with a lengthy inscription dating it to the reign of the last Shang king is in the Asian Art Museum, San Francisco and is illustrated in Zhongguo qingtongqi quanji (The Complete Collection of Chinese Bronzes), Beijing, 1998, vol. 4, no. 134.
The Fujita gong is exceptional in its naturalistic sculptural quality, as well as being fully embellished with fantastic animals. Such naturalism can rarely be found in early Chinese bronze art, which is characterized by an overriding interest in invented motifs and articulated designs. The Fujita gong in contrast captures various anatomical features of a ram, such as the undecorated naturalistic head, which features a slightly up-turned muzzle with a pair of ‘comma’-shaped nostrils, prominent cheekbones, eyes with elongated orbits, leaf-shaped ears, and horns with parallel ridges. Compared with the Fujita gong, the profile of the ram heads on the four-ram zun is quite flat and the ram heads on both double-ram zun are degraded into cone-shapes, which make them far removed from the lifelikeness of the Fujita gong. Another extraordinary anatomical feature on the Fujita gong can be seen in the rendering of the fetlock on the ram’s rear legs. The naturalism of this gong is further enhanced by the curved silhouette of the body, which convincingly conveys the three-dimensional volume of the animal.
The Shang bronze craftsmen’s creativity went beyond mere representation. One trait denoting the Fujita gong as a sacred creature rather than a real animal can be found in the diamond-shaped pattern on the forehead of the ram. This very symbol appears ubiquitously on the forehead of taotie, the main theriomorphic motif on Shang/Zhou bronzes. What distinguishes the Fujita gong further from a real animal is the pantheon of mythical creatures on the surface of the vessel. Both sides of the ram’s body are embellished with large crested birds with clawed foot extending downward onto the legs and their elongated tail curling around the haunches. The cover which forms the ram’s back is further decorated with dragons and a taotie, and is surmounted by a kui dragon and a bird. The standing kui dragon has striated decoration that is typical of southern bronzes. Similar dragons can be found on the aforementioned Hunan elephant zun, and on the elephant zun vessel in the Freer Gallery, Washington D.C. Also notable is the tiger motif filling the space on the ram’s chest. Tigers were a popular motif in southern China, and appear on top of the handles of many ding vessels found in Xingan county, Jiangxi province (see Shangdai Jiangnan [The Southern Land of Shang Dynasty], Beijing, 2006, pp. 30-34, 38-41, 162-163, 166-168, etc.). A vertically-oriented tiger, like that on the chest of the Fujita gong, can also be seen embellishing the chest of the Hunan elephant vessel. Tigers were also used as surface decoration on Anyang bronzes, particularly during the early Yinxu period, such as the previously discussed Ya Chang buffalo-form zun and the Fu Hao yue axe, illustrated in Tomb of Lady Hao at Yinxu in Anyang, Beijing, 1980, col. pl. 13. The use of the tiger motif in Anyang is believed to have been influenced by southern bronzes.
FAQ: Ancient Chinese Bronze Ram Vessel (Fujita Ram Gong)
What is the Fujita Ram Gong and why is it significant? The Fujita Ram Gong is an exceptionally rare and important bronze ritual wine vessel from the late Shang Dynasty (13th-11th century BC). It is significant because it's a fully three-dimensional animal-shaped vessel, a form that is exceedingly rare in Shang bronzes, most of which depict fantastic or symbolic creatures. The ram form of this gong is also notably absent in other major collections, making this piece a standard for scholars and collectors. Its detailed naturalism and elaborate ornamentation further contribute to its importance, marking it as a pinnacle of Southern Chinese bronze casting.
What makes the Fujita Ram Gong unique compared to other animal-shaped bronze vessels of the Shang Dynasty? The Fujita Ram Gong stands out due to its exceptional naturalistic rendering of a ram, capturing anatomical details like "comma"-shaped nostrils, elongated eyes, and textured horns. Unlike other bronze vessels of the period, which often emphasize stylized forms or fantastical creatures, the Fujita Ram Gong shows a remarkable commitment to realism. Furthermore, its lavish decoration with various mythological creatures, including tigers, birds, and kui dragons, all set against a leiwen (cloud and thunder) pattern background, is a combination of natural and supernatural. The diamond shape on its forehead, common to the taotie motif, connects it to a larger symbolic context.
What is the symbolic significance of the ram in Shang Dynasty bronzes? The ram holds a significant position in Shang Dynasty, particularly in Southern Chinese bronzes. This is highlighted by other important examples like the four-ram zun and the double-ram zun. While the exact symbolic meaning is still debated, the frequent use of rams in ritual bronzes suggests a cultural or religious importance related to sacrifice, wealth, or possibly ancestral connections in these societies.
Where was the Fujita Ram Gong likely made and how does this relate to other Shang bronze finds? Based on its style and characteristics, the Fujita Ram Gong is believed to have been cast in the Yangzi River region, often referred to as "Southern China," rather than the traditional Shang heartland near Anyang. This is indicated by features such as the striated decoration on the kui dragons, the presence of tiger motifs on the chest, and the generally naturalistic style. Numerous other animal-form bronzes with similar stylistic elements have been excavated from sites in the Southern part of China, especially the Hunan and Jiangxi regions. This underscores a distinct regional bronze tradition during the Shang period.
What are the key decorative motifs on the Fujita Ram Gong and what do they symbolize? The Fujita Ram Gong is decorated with a range of motifs that combine the natural and the supernatural. On the ram’s body, large crested birds with elaborate tails curve around its haunches, while a pair of tigers decorate the chest. The cover features a taotie mask, a standing kui dragon and bird, and smaller kui dragons. The leiwen background highlights these figures and adds texture. The diamond shape on the ram's forehead connects it to the taotie motif, a significant supernatural symbol, possibly indicating its ritual importance. These motifs likely had specific symbolic meanings within the Shang society. The birds might have been believed to act as messengers for deities or ancestors. The taotie is often linked to power and protection. The tigers might also have a protective function.
How does the Fujita Ram Gong demonstrate the technical skill of Shang bronze artisans? The Fujita Ram Gong is a testament to the exceptional technical skills of Shang bronze artisans. The piece was cast in several parts, showing technical mastery over sectional mold casting. The artisans exhibited detailed knowledge of animal anatomy. The natural rendering of the ram's features, combined with the intricate, shallow relief details of the various decorative patterns, is a display of exceptional metalworking ability. The sophisticated level of modeling and finishing techniques, such as the crisp edges of the motifs, highlight the sophisticated bronze production of the era.
What is the provenance of the Fujita Ram Gong and how has it been studied? The Fujita Ram Gong was part of the collection of the Fujita Museum in Osaka, Japan, and was acquired before 1940. It has been published in numerous catalogs and academic studies. It has also been included in significant exhibitions in Japan and has served as a standard example in major publications on Chinese bronzes, solidifying its place as an important artifact of the Shang dynasty. It was sold at Christie's in New York for over $27 million in 2017.
Where can other similar animal-shaped vessels be found? Similar Shang Dynasty animal-shaped bronze vessels are extremely rare and primarily found in museum collections. These include zun vessels shaped like buffalo, elephants, and boars in museums like the Hunan Provincial Museum, the Shanghai Museum, the Harvard Art Museums, the Freer Gallery in Washington D.C., the Musée Guimet in Paris and the Asian Art Museum in San Fransisco. There are also a few examples in private collections, though the number is small. This scarcity underscores the exceptional nature of the Fujita Ram Gong and its importance as a study object.
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