

“無觥,皆為空。”
對於一位視青銅藝術為畢生熱愛、嚴肅而執著的收藏家來說,一生之中若從未擁有過一件商代觥,無疑將留下難以抹去的遺憾。這種器物遠不止是一件收藏品,它象徵著古老祭祀的精髓、卓絕的藝術創意,以及跨越千年的文化傳承。對於世界上最頂級的博物館與最具慧眼的私人藏家而言,擁有一件商代觥幾乎是至高無上的追求;而對於某些人來說,更可能成為永難擺脫的執念與夢魘。
商代觥的優雅曲線與神秘動物紋飾,彷彿回蕩著古老祭典的餘音。它的出現,時時喚起人們對三千多年前繁華文明的想像與膜拜。當你親手捧起這樣一件深蘊歷史故事的重器,恍若能透過它與久遠的先民對話,觸摸到他們對天地神靈與祖先的虔敬。
然而,對那些尚未曾得償所願的收藏者而言,心底總會留有一絲缺憾。無論在私人收藏室,或在氣勢恢宏的博物館大廳,若沒有一件青銅觥鎮場,往往顯得意猶未盡,似乎永遠少了某種最能代表古代輝煌的象徵。正是在這種對完美與極致的追尋中,夢想與幻象、悵惘與唏噓,皆只在轉念之間。商代觥於是成了收藏領域中既令人神往、又令人生畏的存在,凝聚了幾代人心中的渴望與沉思。

其他商代觥:
“Without a gong, all is for naught.”
For a serious devotee of Chinese bronzes, going through life without ever acquiring a Shang-dynasty gong can be a profound regret. These vessels are more than mere collectibles: they symbolize the quintessence of ancient ritual, artistic ingenuity, and cultural mystique. For the world’s most prestigious museums and the most discerning private collectors, possessing a Shang gong is the ultimate aspiration—or, for some, an obsession verging on a nightmare.
A gong’s graceful contours and mythic animal motifs are steeped in the echoes of ancestral rites. Its very presence conjures a sense of reverence, inviting us to contemplate the rituals and beliefs of a civilization that flourished three millennia ago. Indeed, to hold such a storied piece in one’s hands is to touch the threads of history and feel them resonate across time.
Yet for those who cannot acquire such a masterpiece, a sense of incompleteness may linger. The void left by the absence of a gong is felt as keenly in a private collection as it is in the grand halls of a major museum—a quiet reminder that there remains, forever out of reach, one last testament to the splendor of the Shang. In this pursuit, dream and reverie are but a hair’s breadth away from longing and regret. Such is the power—and the peril—of the Shang gong in the realm of collecting.

諾頓觥(Norton Gong)、盧芹齋(C.T. Loo)
Wine Ewer (Gong), circa 1200-1050 BCE
Shang Dynasty, Anyang Period Cast bronze
7 ¼ x 8 x 413/16 in. (18.4 x 20.3 x 12.2 cm)
Gift of R. H. Norton, 52.7a-b
這件觥(英語發音:go-oh-ng)是中國商代晚期(約公元前1200年至前1050年)極為精彩的青銅器例證。作為一件用於斟酒的祭祀或禮儀器皿,它的裝飾極其繁複,結合了真實與想像中的自然意象。觥的蓋部在前端鑄成一條面帶微笑的「瓶角龍」,龍的四肢沿著器物流(壺嘴)兩側垂下,末端呈現如爪般的銳利造型。
在蓋部的後方,可見一隻老虎的面容探出器物把手上方,牠豎起雙耳,神情專注而帶有好奇。把手本身則由多種動物形象組成:一隻小熊懸掛於把手下方,而把手的頂部則飾以羚羊頭。器身上層與下層之間的橫帶,則在基座部位出現蛇與象等動物紋飾。

在這些動物之間,深色且回旋纏繞的紋樣代表了雷紋(leiwen),即象徵閃電與雷雲的裝飾圖案。考古學家推測,這些動物與自然意象對當時的中國古人具有特殊意義,可能用於驅邪禳災,但確切內涵已無從考證。
據信,商代貴族會在祭祀先祖或與神靈溝通的儀式中,使用此類觥來斟酒。雖然在祭祀場合中相當常見,但現存的青銅觥大多出土自商代貴族墓葬,顯示它們在亡者的墓中被安置,以期在來世繼續服務先人。
創作者與工藝如同大多數古代文明遺物一樣,製作此器的藝術家姓名已無從考證。然而,能夠鑄造如此複雜青銅禮器的工匠,被公認為青銅時代中最具水準與創造力的藝術家。青銅時代約於公元前3300年在近東和南亞地區開始,據推測鑄造青銅的技術約於公元前2000年左右傳入中國。打造此觥的工匠團隊,應該位於今安陽一帶,該地在商代稱為殷,都城即建於此。
此器皿的製作過程,採用了繁複的陶范(piece-mold casting)工藝:先以數個陶製模塊鑄出外部的複雜裝飾面,再將這些陶范圍繞在一個內部的陶芯上。青銅液澆入陶范與陶芯之間的空隙,冷卻後待青銅凝固成型,再敲破外部陶范以取出成品。每一件青銅器往往需要獨立的陶范組件,使其紋飾獨一無二。


盧芹齋(C.T. Loo)的簡介與評價
盧芹齋(1880–1957)是20世紀上半葉活躍於中國與西方之間的重要古董商之一,曾為許多西方博物館與私人藏家提供高品質的中國藝術品。他在推動中國古代文物的國際關注和研究方面,確實作出了相當大的貢獻,讓許多原本僅在中國本土被研究的文物走向更廣泛的世界舞台。
然而,他的交易活動同時也伴隨著文物流失與文化財保護方面的爭議。部分人士批評他的經營模式與收購手段,認為這可能在客觀上助長了中國文物的大量外流,對文化遺產的完整性產生不利影響。總體而言,盧芹齋在促進東西方文化交流和推動中國古代藝術研究方面具有歷史性的貢獻,但他在國際藝術市場上引發的文物來源與保護問題,至今仍值得學界與社會審視與討論。

青銅觥FAQ
問:什麼是「觥」?在商代有什麼用途?
答:「觥」(英語發音:「go-oh-ng」)是中國古代的一種青銅器,特別盛行於商代(約公元前1600年至前1046年)。目前所稱的「諾頓觥」製作年代約在公元前1200年至前1050年之間,主要作為祭祀時的斟酒禮器,用於祭拜祖先或與神靈溝通。這類器物不僅具備功能性,也富含象徵意義,常鑄有複雜的紋飾與動物圖案,可能具有深刻的文化和宗教內涵。雖然在祭祀活動中常被使用,然而大部分現存的觥都出土自墓葬,顯示它們也被視作重要的陪葬品,用以在死後世界繼續為逝者服務。
問:諾頓觥上有哪些主要的設計元素與象徵意義?
答:**諾頓觥的裝飾十分豐富,包括現實與想像中的多種動物形象。蓋子的前方為一條面帶微笑的「瓶角龍」,蓋子後方有一隻虎頭探出並俯視著器物的把手。把手本身由多種動物造型組成:下方懸掛著一隻小熊,而頂部則是一個羚羊頭。器身底部帶有蛇與象等裝飾。這些動物之間交織的迴旋形暗紋被稱作「雷紋」(leiwen),象徵閃電與雷雲。考古學家推測,這些動物及圖案在商代社會可能具有驅邪避禍或禱福等宗教與文化意義,然而具體詮釋仍存在不同看法。
問:商代的青銅觥是如何製作的?這說明了什麼樣的工藝水準?
答:**此類青銅觥是利用複雜的「陶范法」(piece-mold casting)製作而成。工匠們首先製作出包含精細紋飾的多片陶製外模,並將這些外模組裝在一個陶製內核(core)周圍,然後將熔化的青銅液澆注到外模與內核之間。青銅冷卻凝固後,再打破陶製外模取出成品。這種製作技術需要高超的冶金知識以及對裝飾與設計的精妙掌控,充分展現了商代青銅匠師的智慧與創造力。雖然這些工匠的名字已不可考,但他們被視為青銅時代最具創造力和技藝水準的工藝師之一。青銅鑄造技術大約在公元前2000年傳入中國,而商代工匠則在殷(今安陽)等主要都城區域建立起成熟的製作體系。
問:為什麼大部分商代的觥都是在墓葬中出土的?這具體意味著什麼?
答:**商代的觥雖然在祭祀與典禮中經常使用,但現存的實物大多數出土自商代貴族的墓葬。這表明此類器物在當時不僅具備禮儀功能,亦被視為重要的隨葬品,以便死者在來世繼續使用。這種現象突顯了商代社會對祖先崇拜與死後世界信仰的重視,也反映出該時代深厚的禮制觀念與貴族等級制度。
問:誰是盧芹齋(C.T. Loo)?他與這件諾頓觥及其他中國藝術品有何關聯?
答:**盧芹齋(C.T. Loo, 盧芹齋,1880–1957)是二十世紀上半葉極具影響力的中國藝術品經銷商之一。他在向西方博物館與私人收藏家推廣中國藝術方面,扮演了關鍵角色。很可能正是透過盧芹齋的交易管道,諾頓美術館才得以入藏這件商代觥。他曾協助大量中國藝術品流入西方市場,對促進國際對中國藝術的認識與研究起了重要作用。然而,他的經營活動也引起了對文化財產外流的擔憂與批評。
問:為何盧芹齋的遺產和交易活動會引發爭議?
答:**盧芹齋在國際舞台上弘揚中國藝術時的確做出了相當貢獻,但他亦因涉嫌使用可能導致文物大規模外流的經營模式和收購方式而受到批評。許多中國珍貴文物經由他的交易管道散落海外,對中國文化遺產的整體保存可能產生負面影響。對於盧芹齋的評價,焦點往往在於如何在國際推廣藝術與保護文化財產之間取得平衡;這些討論與反省至今仍是學者與公眾關注的議題。
問:商代、青銅時代與製作觥等器物的技術之間有何聯繫?
答:**商代正處於中國的青銅時代,青銅在當時被廣泛用於製作禮器、工具和武器。商代工匠運用陶范法等技術製作出諾頓觥,體現了青銅時代冶金與藝術工藝的高峰。青銅時代最早於公元前3300年左右在近東和南亞地區出現,約於公元前2000年傳入中國。在中國,工匠進一步發展出獨具特色的製作方法與審美風格,使青銅鑄造成為當時社會與文化生活的核心領域之一。
問:這件諾頓觥對我們了解商代有何啟示?
答:**諾頓觥是一件兼具研究價值與藝術價值的青銅禮器。其上複雜精美的紋飾與動物造型,反映了商代人在宗教、審美與技術方面的高超水準。其作為祭祀器具及墓葬隨葬品,說明了商代社會對先祖崇拜與來世信仰的重視。對考古學家和歷史學者而言,這樣的器物可提供商代人日常生活、宗教儀式和社會結構的直接線索,進一步補充與深化我們對那段遙遠歷史的了解。

The Norton GONG, C.T.Loo
The gong (pronounced go-oh-ng) is a brilliant example of a bronze vessel from the later part of China’s Shang dynasty dating from circa 1200–1050 BCE. This wine-pouring vessel is ornately decorated and illustrates both real and imaginary natural images. The lid of the gong has been molded into the face of a smiling bottle-horned dragon positioned at the front of the lid. Its legs are draped down both sides of the vessel’s spout ending with claw-like talons near the base.
At the back of the lid, the face of the tiger with raised ears and an attentive, curious expression peers over the handle of the container. The handle of the gong is also composed of a combination of animals, including a small bear dangling underneath the handle which is topped with a head of an antelope. The bands that articulate different levels of the vessel also feature serpents and elephants at the base.
Dark, coiled patterns among the animals represent leiwen, or lightning and thundercloud motifs. Archaeologists believe these animal and natural images had meaning for the ancient people of China, perhaps to ward off evil. No one knows for sure.
It is believed that Shang dynasty aristocrats used gongs for pouring wine during ceremonies to communicate with spirits of their ancestors. While commonly used in rituals, the gongs that survive were found in Chinese tombs and were placed there to serve the dead in the afterlife.
The Artist
The names of the artists who created this vessel are lost to us, as is the case with most ancient cultures. However, the artists who cast bronze objects like this gong are considered among the most sophisticated artists of the Bronze Age. The Bronze Age began in the Near East and South Asia around 3300 BCE; the technology of casting bronze is thought to have arrived in China around 2000 BCE. The artists who made this object worked in teams near present day Anyang, which was the site of a Shang dynasty capital city, Yin.
This vessel was created using a ceramic piece mold made up of several parts. The pieces decorated with complex multifaceted designs were assembled around an interior clay core. Molten bronze was then poured between the external pieces of the mold and the clay core. After the bronze had cooled and hardened, the ceramic molds were broken to reveal the vessels.
C.T. Loo (1880–1957) was one of the most influential antique dealers operating between China and the West in the first half of the 20th century. He supplied numerous Western museums and private collectors with high-quality Chinese artworks, playing a pivotal role in raising international awareness and spurring research into ancient Chinese artifacts. Through his efforts, many pieces formerly studied only in China reached a broader global audience. However, his commercial activities were also accompanied by controversies related to cultural heritage loss and the protection of historical artifacts. Some critics argue that his business practices and acquisition methods may have facilitated the large-scale export of Chinese cultural relics, thereby undermining the integrity of China’s cultural heritage. Overall, while C.T. Loo is credited for his historical contributions in promoting cultural exchange between East and West and advancing the study of ancient Chinese art, issues of provenance and preservation in the global art market that he helped expand remain subjects of ongoing debate among scholars and the public.
Frequently Asked Questions about the Shang Dynasty Bronze Gong
What is a "gong" and what was its purpose in the Shang Dynasty?
A "gong," pronounced "go-oh-ng," is a type of bronze vessel used in ancient China, particularly during the Shang Dynasty (circa 1600-1046 BCE). The Norton Gong specifically dates to around 1200-1050 BCE. It served as a ritual wine-pouring vessel, likely used in ceremonies to honor ancestors and communicate with spirits. These vessels were not just functional objects; they were highly symbolic, featuring intricate designs and animal motifs that held cultural and possibly spiritual significance. While primarily associated with rituals, they were also placed in tombs, believed to serve the deceased in the afterlife.
What are the key design elements and symbolic meanings found on the Norton Gong? The Norton Gong is adorned with a rich array of both realistic and fantastical animal motifs. The lid features a smiling, bottle-horned dragon at the front and a tiger's head at the back overlooking the handle. The handle itself is composed of multiple animals, including a dangling bear and an antelope head at the top. The vessel's base incorporates snake and elephant designs. Interspersed among these animal figures are swirling patterns known as "leiwen," symbolizing lightning and thunderclouds. Archaeologists believe these motifs likely had specific cultural and spiritual meanings for the Shang people, perhaps for protection or good fortune, though the precise interpretations remain debated.
How was the Shang Dynasty bronze gong created, and what does this tell us about the artisans of the time?
The bronze gong was created using a complex piece-mold casting process. Artisans would first create a multi-piece ceramic mold with intricate designs and then assemble it around a clay core. Molten bronze was then poured into the space between the mold and core. Once the bronze had cooled and hardened, the ceramic mold was broken away, revealing the finished vessel. This sophisticated technique demonstrates the advanced skills and artistic expertise of Shang dynasty bronze workers. These artisans, though anonymous today, are considered among the most skilled and innovative artists of the Bronze Age. The casting technology is believed to have been introduced to China around 2000 BCE and the artisans who crafted such vessels often worked in teams in areas like the ancient city of Yin (modern-day Anyang), which was a capital of the Shang Dynasty.
Where were most Shang Dynasty gongs discovered and why is that significant?
While gongs were used in rituals and ceremonies, the majority of surviving examples have been discovered in Shang dynasty tombs. This indicates that these vessels were not only important for religious practices but were also considered essential grave goods for the elite, placed there to serve the deceased in the afterlife. This practice underscores the significance of ancestor veneration and the belief in a continued existence after death in Shang society. The location of discovery highlights their dual role as both ritual and funerary objects.
Who was C.T. Loo, and what role did he play in the history of this specific gong and other Chinese art pieces? C.T. Loo (盧芹齋), a prominent art dealer active in the first half of the 20th century, was instrumental in bringing Chinese art to the attention of Western museums and collectors. He is likely the source for how the Norton Museum of Art obtained this specific gong. He facilitated the movement of numerous Chinese art pieces to the West, thus contributing to the international recognition and study of Chinese art. However, his activities have also raised concerns about cultural heritage and the removal of artifacts from China.
What are some of the controversies surrounding C.T. Loo's legacy as a dealer in Chinese art?
While C.T. Loo is credited with promoting Chinese art globally, he is also criticized for his role in the displacement of Chinese artifacts. Concerns have been raised that his business practices, including his methods of acquisition, may have contributed to the large-scale outflow of Chinese cultural relics, potentially harming the integrity of China's cultural heritage. The debate surrounding Loo's legacy centers on the conflict between promoting art internationally and protecting the cultural heritage of its origin.
What is the connection between the Shang Dynasty, the Bronze Age, and the techniques used to create objects like the Gong?
The Shang Dynasty in China flourished during the Bronze Age, a period characterized by the widespread use of bronze for tools, weapons, and ritual objects. The techniques used to cast the Norton Gong represent the peak of Bronze Age technology in China. The mastery of the piece-mold casting method, employed by Shang Dynasty artisans, reflects their advanced understanding of metallurgy and craftsmanship. The Bronze Age began in the Near East and South Asia around 3300 BCE, and bronze casting technology arrived in China by about 2000 BCE. This underscores China's integration into a larger historical pattern of technological development in the ancient world, while simultaneously showcasing unique local innovations in technique and aesthetic style.
How does this specific artifact, the Norton Gong, contribute to our understanding of the Shang Dynasty?
The Norton Gong offers a wealth of information about the Shang Dynasty, providing a glimpse into the religious beliefs, artistic skills, and social structure of the time. Its intricate decoration and ritual purpose reflect the spiritual practices and sophisticated craftsmanship of the era. The fact that such objects were found in tombs helps illuminate the Shang belief in the afterlife and the practice of ancestor veneration. The gong serves as a tangible link to a distant past and allows historians and archaeologists to gain invaluable insight into the daily life and cosmological views of the people who created it.
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