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青銅筆記 vol.18 樂山堂:西周青銅鳥形蓋盒,萬孝臣、George deBatz、蔡一鳴舊藏 - Leshantang, A Western Zhou Dynasty Archaic Bronze 'Bird' Box And Cover



Audio cover
弄器鳥形蓋盒:A Unique Bronze Bird Box and the Leshantang Collection


這件重要的西周青銅鳥形蓋盒來自荷蘭著名中國青銅器收藏家萬孝臣(Williem van Heusden),他於 1952 年寫道:這件小器物似乎是獨一無二的,我不確定該如何歸類(可能是屬於「觥」?)。

荷蘭萬孝臣(Willem Van Heusden)為世界著名中國青銅器收藏家,1952年他將自己所藏大量中國古代(三代)稀見青銅器匯編整理後在東京出版成書:《寶鼎齋三代銅器圖錄》(Ancient Chinese Bronzes)大型精裝珂羅版畫冊,此書僅發行1000冊,扉頁留有萬孝臣氏親筆簽名及蓋章;此乃研究中國青銅器之重要著作。


This significant Western Zhou bronze bird-shaped covered box comes from the renowned Dutch collector of Chinese bronzes, Williem van Heusden. In 1952, he wrote: "This little vessel appears to be unique, and I am not sure how it should be classified (possibly as a kuang?)."


Williem van Heusden, a world-famous Dutch collector of Chinese bronzes, compiled and cataloged his extensive collection of rare ancient Chinese bronzes (from the Three Dynasties) and published it in Tokyo in 1952 as a large, deluxe collotype edition titled Ancient Chinese Bronzes. The book, known in Chinese as Baodingzhai Catalogue of Bronzes from the Three Dynasties (《寶鼎齋三代銅器圖錄》), was limited to just 1,000 copies, with each copy containing Van Heusden's handwritten signature and seal on the front page. This work remains an essential reference for the study of Chinese bronzes.


這類器物可能屬於「弄器」,弗里爾博物館藏有春秋時期山西侯馬地區的鳥尊,銘文“子之弄鳥”,是目前公認的弄器之一。另外,「弄器」的概念是什麼,目前還在探討之中。故宮博物院認為,弄器,主要是不好歸類的銅器類型;另外,故宮博物院的報告也提到,出土紀錄中,弄器多為女性墓葬。



故宮也有“君子之弄鬲”:



另外,山西地區也有可歸為「弄器」的作品:



有觀點認為雖然這些器物出土地不同,其中放置實物也不同,但仍存在較多共性:它們體積較小,鑄造工藝較為複雜,大多出土於西周晚期至春秋早期的高等級女性墓葬中。這些細節體現出古代喪葬制度的沿革。


西周晚期 青銅鳥形蓋盒

An archaic bronze 'bird' box and cover

Late Western Zhou dynasty


h. 9 cm



Provenance

Collection of Williem van Heusden.

Collection of Georges deBatz.

Christie's New York, 30th November 1983, lot 278.


來源:

Williem van Heusden 收藏

Georges deBatz 收藏

紐約佳士得1983年11月30日,編號278


Literature

Willem Van Heusden, Ancient Chinese Bronzes of the Shang and Chou Dynasties. An Illustrated Catalogue of the Van Heusden Collection with a historical Introduction by Willem van Heusden, Tokyo, 1952, p. 116, pl. XXIII.


出版:

Willem Van Heusden,《Ancient Chinese Bronzes of the Shang and Chou Dynasties. An Illustrated Catalogue of the Van Heusden Collection with a historical Introduction by Willem van Heusden》,東京,1952年,頁116,圖版 XXIII



This type of vessel may belong to the category of "playthings" (nongqi). The Freer Gallery of Art houses a bird-shaped zun from the Spring and Autumn period, excavated in the Houma region of Shanxi, bearing the inscription "zi zhi nong niao" (子之弄鳥), which is currently recognized as one of the examples of nongqi. However, the concept of nongqi is still under exploration. According to the Palace Museum, nongqi primarily refers to bronze objects that are difficult to classify into standard categories. Furthermore, reports from the Palace Museum also note that in excavation records, nongqi are often found in female tombs.


The Palace Museum also possesses a vessel inscribed with "jun zi zhi nong li" (君子之弄鬲):

Additionally, the Shanxi region has examples that can be categorized as nongqi:



Some researchers argue that although these objects were excavated from different locations and contained different items inside, they still share many commonalities:


they are relatively small, exhibit intricate casting techniques, and are mostly found in high-ranking female tombs from the late Western Zhou to early Spring and Autumn periods. These details reflect the evolution of ancient funerary practices.



有關西周青銅鳥形蓋盒及相關議題的常見問答


問:文中所述的西周青銅鳥形蓋盒有何重要意義?

答: 這件西周晚期的青銅鳥形蓋盒極為珍稀,因其鳥形外觀、小巧尺寸以及鑄造工藝之複雜而引人注目。它曾屬於著名的荷蘭中國青銅器收藏家萬孝臣(Willem van Heusden)收藏。萬孝臣最早注意到這件器物的獨特之處,並於最初推測它可能是一件「觥」(kuang)。在流轉經歷中,該蓋盒先後出現在Georges deBatz 收藏以及紐約佳士得(Christie’s New York)的拍賣,因而具備重要的收藏與交易來源(provenance)價值。現今,學界普遍認為它可能屬於一類少見的青銅「弄器」(nongqi)。


問:誰是萬孝臣?他與這件鳥形蓋盒有何關聯?

答: 萬孝臣(Willem van Heusden)是世界知名的荷蘭中國青銅器收藏家。他是目前所知該青銅鳥形蓋盒的首位藏家,並於1952年在其著作《Ancient Chinese Bronzes of the Shang and Chou Dynasties》(含歷史概述)中收錄此器。萬孝臣的研究與編目工作對中國青銅器領域影響深遠,他在書中也特別指出此鳥形蓋盒的獨特性,並坦言難以為其尋得準確分類,顯示他對這件器物的重視與慎重態度。


問:「弄器」(nongqi)在中國青銅器的研究中是什麼概念?

答: 「弄器」(nongqi)是用來指稱一類在傳統功能分類(如鼎、尊、簋等)之外,較難歸入明確器型的中國青銅器。由於這些器物在形制與用途上仍存不少未知,學界對「弄器」的確切含義與功能仍在討論中。一般而言,弄器體量較小、鑄造工藝精巧,且多見於西周晚期至春秋早期的高等級女性墓葬中。有些學者認為它們可能是某種「玩器」、或帶有特殊禮儀功能的器物。總之,弄器代表了一個尚未完全定義的器物範疇,值得進一步深入研究。


問:為何「弄器」常見於女性墓葬?

答: 雖然並非所有弄器都出土於女性墓葬,但大量研究與出土紀錄顯示,此類小型、精緻的青銅器往往見於西周晚期至春秋早期的高階層女性墓葬。對此,學術界仍在探討具體原因。一種可能性是,這類器物與當時貴族婦女的地位與喪葬禮俗有關;它們可能象徵女性在社會或家族中的特殊身分,以及她們在禮儀或生活中所扮演的角色。墓葬出土的文物往往是其主人生前生活與社會地位的縮影,因此弄器出現在女性墓葬中也反映了古代喪葬制度的一些側面。


問:屬於「弄器」的器物有何共同特徵?

答: 雖然弄器的形制與具體功能不盡相同,但它們通常具備以下幾項共同特徵:

體積較小: 弄器一般尺寸不大,易於把玩或作為隨葬品。

鑄造工藝複雜: 這類器物常運用高難度的技術與精細裝飾,展現當時高超的鑄造水平。

出土背景: 多數弄器出土於西周晚期至春秋早期的貴族墓葬,尤以女性墓中較常見。

形制多樣: 雖有上述共性,但實際器形、用途及內部放置物因地域或墓主身分而異。


這些特徵代表弄器在禮儀體系中的某種特殊定位,亦顯示其在青銅器研究領域仍有深入探究的空間。


問:什麼是樂山堂收藏?其重要性何在?

答: 樂山堂收藏是蔡一鳴先生所建立的一座私人藝術收藏體系,涵蓋中國藝術數個世紀的精華。其藏品包括古代與近現代的書畫、官窯瓷器等,數量豐富、品質精湛。這些作品凸顯了蔡先生對藝術的深度鑑賞力和廣泛興趣;作為一座仍保存完整的私人藝術收藏,樂山堂被視為中國收藏界「黃金時代」的珍稀遺留。該收藏體現了收藏家統一的美學視野,同時也提供了對歷代藝術成就的見證與詮釋。


問:樂山堂收藏與早期上海收藏家有何淵源?

答: 樂山堂與上海著名收藏家仇焱之、胡惠春等人之收藏傳統密切相承。蔡一鳴先生年少時,即因有機會目睹胡惠春珍藏而深受感動;後來在個人收藏道路上,亦有緣將仇、胡兩家的一部分舊藏納入樂山堂。此種收藏譜系顯示了近現代上海收藏界的延續與傳承,也展現出上海美學風格的深厚底蘊。


問:像樂山堂這樣的私人收藏,以及對鳥形蓋盒等單一器物的研究,對中國藝術史研究有何啟示?

答: 私人收藏(如樂山堂)和對單件文物(如西周青銅鳥形蓋盒)的深入研究,對認識與推動中國藝術史研究都極為重要。私人收藏保存了許多稀世珍品,體現了藏家的審美與知識,也為學界提供了珍貴的一手資料。而對單件文物的深入考證與追溯,不僅可展現古代社會的歷史、禮儀與技術,更能促進對整體文化脈絡的理解。收藏與研究相輔相成,共同見證並推動中國藝術的傳承與國際傳播,也讓我們得以不斷更新並拓展對中國藝術及其歷史的認識。


樂山堂收藏


藝術典藏之構築乃一門藝術,反映收藏家個人品味、知識、鑑賞力;若精到,得以縱遊千古藝術史,聚歷朝精湛作品於一堂,跨越時空,相互輝映。


蔡一鳴先生之樂山堂雅蓄,即為典範。藏品年代橫跨千載,美學主軸貫穿其間,其鑑賞力之深厚、藝術範疇之廣闊,綜觀現今中國藝術收藏界,可與之相媲美者,寥寥也。


蔡一鳴 樂山堂主人


蔡氏收藏展現經典滬派審美,與上海收藏家仇焱之、胡惠春等傳承密切,樂山堂亦藏有仇、胡氏舊藏。蔡氏年少時,曾得見胡惠春珍藏,為其中國藝術之精美所撼動,未知數十載之後,自己亦屬知名鑑藏家之列。


此黃金年代尚遺留至今之私人藝術典藏極稀,樂山堂廣納不同範疇之藝術傑作,中國古代及近現代書畫以及官窰瓷器,彼此縝密交織,不僅見證歷代中國藝術的輝煌成就,並彰顯蔡氏求知好學無盡之心與精準敏銳之眼光。


The Leshantang Collection

The art of building a collection is itself an art form, reflecting the collector’s personal taste, knowledge, and connoisseurship. When pursued with exceptional depth, it enables the collector to traverse the expanse of art history, bringing together masterpieces from various dynasties under one roof. These works transcend time and space, creating a profound dialogue between them. Mr. Cai Yiming’s Leshan Hall stands as a paradigm of such achievement. Spanning over a millennium, the collection is unified by a cohesive aesthetic vision. Its remarkable depth of connoisseurship and breadth of scope render it one of the most outstanding private collections in the field of Chinese art today.


Mr. Cai’s collection epitomizes the quintessential Shanghai aesthetic and is deeply connected to the legacies of prominent Shanghai collectors such as Qiu Yanzhi and Hu Huichun. Leshan Hall also preserves a number of works formerly held in the Qiu and Hu collections. As a young man, Cai was profoundly inspired by the exquisite beauty of Chinese art upon encountering Hu Huichun’s treasures, never imagining that decades later he would be counted among the foremost connoisseurs of Chinese art.


Private collections from this golden era that remain intact today are exceedingly rare. Leshan Hall embraces masterpieces across diverse categories, including ancient and modern Chinese paintings, calligraphy, and imperial ceramics. These pieces are intricately interwoven, not only bearing witness to the brilliance of Chinese art across centuries but also reflecting Mr. Cai’s insatiable pursuit of knowledge, scholarly dedication, and extraordinary discernment.


Frequently Asked Questions About the Western Zhou Bronze Bird-Shaped Box and Related Concepts

What is the significance of the Western Zhou bronze bird-shaped box described in the text?

The bronze bird-shaped box is significant because it is a rare and unique artifact from the late Western Zhou dynasty. It is notable for its distinctive bird shape, small size, and the complexity of its casting technique. It was once part of the prestigious collection of Williem van Heusden, a renowned Dutch collector of Chinese bronzes, who himself expressed uncertainty about its exact classification, initially suggesting it might be a "kuang." Its journey through various collections, including Georges deBatz and then its sale at Christie's New York, adds to its provenance and historical interest. It's now recognized as an example of the elusive "nongqi" type of bronze vessels.


Who was Williem van Heusden and what is his connection to this bronze piece?

Williem van Heusden was a world-famous Dutch collector of Chinese bronzes. He was the first known owner of the bronze bird-shaped box, and he included it in his 1952 publication, Ancient Chinese Bronzes of the Shang and Chou Dynasties. Van Heusden's work, which also features a historical introduction, remains a key reference for the study of Chinese bronzes, and his personal observations on the uniqueness of the bird-shaped box highlight its significance. His meticulous cataloguing of his vast collection also highlights how seriously he took his role as a collector and researcher.


What does the term "nongqi" mean in the context of Chinese bronzes?

"Nongqi" (弄器) is a term used to describe a category of Chinese bronze objects that are difficult to classify into standard, well-defined types like ding, zun, or gui. The precise meaning and purpose of nongqi are still under discussion among scholars. They are often small in size, exhibit intricate casting, and frequently found in high-ranking female tombs dating from the late Western Zhou to the early Spring and Autumn periods. Some believe they were “playthings” of some kind, or objects made for some ritualistic purpose. In general, nongqi represent objects that fell outside the traditional parameters of functional bronze ritual vessels.


Why are "nongqi" often found in female tombs?

While not every nongqi is found in female tombs, the prevalence of these objects in high-ranking female graves, particularly those of the late Western Zhou to early Spring and Autumn period, suggests a strong association. The exact reasons are still debated, but this association implies a possible connection with the status and funerary practices related to women during that era. It also highlights how grave goods can provide clues about past social practices.


What are some of the characteristics shared by vessels categorized as "nongqi"?

Despite their varied forms and purposes, nongqi vessels often share several characteristics: they are generally small in size, display high levels of craftsmanship and complex casting techniques, and are most often unearthed in late Western Zhou to early Spring and Autumn burials, particularly those of high-status women. The diversity in the specific types and contents of these vessels, however, demonstrates that the category remains broad and requires further research. These similarities suggest that despite being difficult to define and categorize, these items have a common origin and function in the rituals of the time.


What is the Leshantang Collection and what is its significance?

The Leshantang Collection is a private collection amassed by Mr. Cai Yiming, that spans a millennium of Chinese art. It is considered exceptional for the depth and breadth of its holdings, which encompass ancient and modern Chinese paintings, calligraphy, and imperial ceramics. The collection reflects Cai's discerning taste, deep knowledge, and connoisseurship. It's particularly significant as it represents a surviving example of a “golden era” of private art collecting in China. The collection reflects the collector's aesthetic vision and commitment to collecting pieces that engage in a "dialogue" with one another.


How does the Leshantang Collection relate to earlier Shanghai collectors?

The Leshantang Collection is closely connected to the legacies of prominent Shanghai collectors, such as Qiu Yanzhi and Hu Huichun. Mr. Cai Yiming was inspired by their collections during his youth. Leshantang also includes some pieces that were previously part of the Qiu and Hu collections. This connection demonstrates the continuation of a particular Shanghai aesthetic and the importance of a lineage of collectors in shaping the field of Chinese art.


What does the existence of collections like Leshantang and the study of objects like the bronze bird-shaped box tell us about the study of Chinese art history?

The existence of private collections like Leshantang and the detailed study of individual artifacts like the bronze bird-shaped box are crucial to understanding Chinese art history. Private collections preserve rare objects, reflecting the taste and expertise of the collectors, while detailed studies of individual pieces help illuminate ancient cultures and practices. The provenance and research related to these objects highlight the importance of ongoing scholarship, the value of careful observation, and the role of collectors in the preservation and dissemination of cultural heritage. Furthermore, both private collections and individual objects like the bird box tell a story about shifting understandings and interests in the art and history of China.




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