

商代青銅觥是一種晚期出現的青銅祭祀器,主要用於盛酒並祭祀祖先。本文探討千石唯司收藏的融合虎、貓頭鷹、龍以及饕餮紋飾的觥,其結構與裝飾極為繁複,展現了商代青銅工藝的精湛技術與深遠的象徵意義。
雷紋、夔龍、神鳥提把等元素也增添器物的美學與功能性。此類青銅器在安陽婦好墓出土後逐漸受到重視,但由於器型較晚且製作時間短暫,對其動物意象與宗教涵義的詮釋仍是學術探討的重點。
The Shang Dynasty bronze guang emerged relatively late in the repertoire of bronze ritual vessels, primarily serving as a wine-pouring container in ancestral offerings. This text focuses on a particularly intricate piece featuring multiple zoomorphic elements—tiger, owl, dragon, and taotie motifs—demonstrating the superb craftsmanship and symbolic richness of Shang bronze art.
The combination of decorative features such as the leiwen patterns, kui dragons, and a fantastical bird handle underscores its aesthetic and ritual significance. Although examples were found notably in Fu Hao’s tomb at Anyang, their relatively brief production period means that various interpretations of their animal symbolism and religious functions remain open to debate.


來源(Provenance)
日本私人收藏 / 千石唯司(Private collection Japan / Tadashi Sengoku)
出版(Published)
《Chùkoku Ocho No Iki(中國王朝之奇觀)》,大阪美術倶楽部(Osaka Art Club),大阪,2004年,第8-11頁,編號1。
相似作品(Similar examples)
《神秘的古代中國:早期王朝的新發現》(Mysteries of Ancient China, New Discoveries from the Early Dynasties),Jessica Rawson編,代表大英博物館受託人的British Museum Press出版,倫敦,1996年,第101頁,編號45。
《中國美術全集.中國青銅器全集》,第3卷,北京,文物出版社,1995年,第155、159、161頁。
Robert W. BAGLEY著,《Shang Ritual Bronzes in the Arthur M. Sackler Collections》,哈佛大學出版社,1987年,第134頁,圖208;以及第414、415頁,圖71.3、73.2、73.3。
千石唯司
千石唯司(Sengoku Tadashi)先生是近代知名的日本企業家、藝術收藏家,對中國青銅器的鑑賞與研究有著卓越貢獻。其商業成就與藝術收藏之間相輔相成,不僅奠定了他在企業領域的領袖地位,也使他在中外藝術界獲得高度讚譽。

在商業領域,千石先生以前瞻的投資眼光與穩健的經營策略,逐步建立起多元化的事業版圖。在確保企業穩定成長的同時,他也將大量資源投入藝術收藏與保護之中,特別是對中國青銅器的深入鑽研與收藏,成為他的顯著特色。
千石唯司先生對中國上古文明,尤其是商代青銅器文化,懷有濃厚的興趣與熱情。早在事業有成之後,他便開始積極投入收藏並資助相關研究,從各地搜羅珍貴器物,並邀請考古與藝術史專家進行學術鑑定。透過這些努力,他所珍藏的青銅器系列逐漸成形,在日本乃至國際藝術市場都擁有重要地位。

他所收藏的這件商代青銅觥便是其中的代表之一。其造型繁複優美,融合虎、貓頭鷹(或稱鴞)與饕餮等圖騰,表現了商代高超的鑄造技術與神祕的宗教意象。這件作品最早曾在多部文獻與展覽中亮相,吸引了國際藝術史家與考古專家的廣泛關注。
千石唯司先生不僅關注藝術品本身的美學與歷史價值,也積極投入文物保護與跨文化交流。他曾與日本及海外多家博物館、研究機構合作,參與策劃青銅器專題展覽或贊助出版相關學術論著,促進了中日兩國在上古文明研究上的對話與合作。
綜觀千石先生的成就,一方面表現在其出眾的企業管理才能,讓他得以建立穩固的財務基礎;另一方面,他富有遠見地投入珍貴古代文物的收藏與保存,從而對推動藝術與考古研究發揮了非凡的影響力。時至今日,他仍被視為日本收藏與企業文化融合的典範人物,其對中國青銅器的研究與弘揚,更為業界樹立了優秀典範。
千石唯司氏的收藏與捐贈
這是千石唯司先生長年累積的中國美術工藝品收藏。自平成26年(2014年)起,他已先後向兵庫縣捐贈了超過500件作品。
在這批收藏中,最具核心地位的是300多面古代中國銅鏡。從二里頭文化(約3700年前,或稱夏代)至宋代(約1000年前),時序涵蓋廣泛,數量與品質兼備,對了解古代中國鏡文化極具重要參考價值。
此外,千石先生所收藏的文物還包括商(殷)至周代的青銅器、唐代的響銅器、陶俑等,品類多樣且具有高度的藝術與歷史價值。

千石唯司氏榮獲紺綬褒章
2022年4月9日公告:鑑於千石唯司先生於令和三年(2021年)慷慨向兵庫縣捐贈了其部分金屬器與陶器收藏,為表彰這一貢獻,日本政府特頒授「紺綬褒章」(こんじゅほうしょう)予千石先生。
在2022年3月28日舉行的頒授儀式上,由和田晴吾館長(左)代表頒贈了褒章證書與紀念品,千石唯司先生(右)親自接領。

千石唯司觥
時代(Shang period)
商代(公元前1600年至公元前1027年)
材質(Materials)
青銅,帶有棕色、綠色與藍色銹蝕(patina);並附有赤銅礦(cuprite)、孔雀石(malachite)與石青(azurite)結殼
尺寸(Dimensions)
高:約10英寸(25.5公分)
長:約13英寸(33公分)
器內有象徵性銘文(Emblematic character inside the vessel)

器物描述與功能(Description and Purpose)
這是一件用於盛放發酵飲品的祭祀容器。它是一件青銅製注酒器,形似動物,並帶有蓋子,稱為觥。當蓋子與器身結合後,整體會組成多個神話動物形象。
在器身中心有一條如城垛狀(crenellated)突棱的分界線,器身前部是類似貓科動物的「虎」,後部則為「鳥」(此處被視作貓頭鷹)。這兩個動物背靠背排列,其頭部則位於器蓋上。
虎的形象以淺浮雕手法呈現:後腿蹲踞,背部順應器身曲線。身軀上方與前伸的流口相呼應。前腿彎曲,爪子強勁。尾巴貼近地面,尖端上翹。虎頭(亦即蓋子前端的饕餮面)有方形下頜,半張開的嘴顯露出8顆門牙及犬齒。眼睛圓凸,小耳朵分立兩側。
頭頂豎立著大號「S」形角,為圓雕手法的夔龍形象(kui dragons),以龍口連接至器物本體。相對一側的鳥身較為渾圓,同樣以浮雕刻畫,並與器身輪廓相配:足部有爪。翅膀起始處以大螺旋紋強調,其後有四根長羽,中間穿插三小羽。
蓋子後部的鳥首為貓頭鷹形象:鳥喙尖而彎曲。大而凸出的圓眼,瞳孔為鏤空,置於一個帶有鱗狀刻紋的大螺旋中。兩耳豎立於頭頂,耳緣帶有角狀裝飾。
蓋子上另飾有一條龍:一個饕餮面浮雕位於虎頭之後,具突出的上唇、凸眼與位於兩側的小耳。頭頂亦有一對直立的角。身軀蜿蜒,尾端尖且捲曲,以中央的鋸齒狀突棱為分界。龍身還帶有兩條健壯的腿,位於身體兩側。
器物背部裝有一隻神鳥形狀的提把。整件觥的地紋均使用雷紋(leiwen)裝飾,並以深刻線條強調各種動物形態。
青銅表面覆蓋深淺不同的綠色銹蝕,並帶有藍色斑痕。

歷史與背景(Historical Context and Background)
青銅觥在安陽首次出現是在婦好墓(約公元前1200年),在商代眾多青銅器中算是較晚出現的器型,主要用於祭祀祖先。以虎與鳥結合造型的觥似乎在短期內曾流行過,但並未長久延續。
關於虎與貓頭鷹的意義,有不同的解讀;但多依據後世文獻加以推測,因此仍存疑。貓頭鷹作為夜行性猛禽,一方面被視為不祥與死亡的象徵,另一方面也被認為具備夜間護佑的靈性。虎則通常被認為象徵力量。
註解(1):「The Ritual Bronze Vessels of the Shang and the Zhou」,見《Mysteries of Ancient China, New Discoveries from the Early Dynasties》,Jessica Rawson編,British Museum Press(倫敦),1996年。

其他商代觥:
關於商代青銅觥的常見問題(FAQ)
1. 什麼是「觥」(guang),它的用途是什麼?
觥(guang)是商代(公元前1600~公元前1027年)的一種特定青銅祭祀器。它通常以動物形態製作,用於盛裝並注入祭祀祖先所需的發酵酒。其特色為通常帶有蓋子,與器身結合時組成神獸或神話動物的完整造型。
2. 這件文本中描述的觥有何獨特之處?
這件觥最顯著的特色在於其複雜的多重神獸構圖。器身兩側分別以虎(前方)與鳥(後方)背靠背地佈局,中間以城垛狀突棱(crenellated flange)分隔,並且這兩隻動物的頭部都呈現在蓋子上。此外,蓋子上還飾有饕餮(taotie)龍的紋飾。整件器物以精細的浮雕與表面裝飾打造,包括雷紋地紋;在器物背部,還有一隻神鳥形狀的提把,增添了整體象徵意涵與視覺複雜度。
3. 製作這件青銅器使用了哪些材料與技術?
此件觥採用青銅鑄造,表面因長期氧化而呈現棕色、綠色與藍色的銹層或斑跡,這些顏色來自赤銅礦(cuprite)、孔雀石(malachite)和石青(azurite)的自然生成結殼。裝飾手法結合了浮雕與深刻線雕,包含多種雕塑及刻劃的裝飾圖案,呈現出豐富的造型與紋飾。
4. 器身上多種動物形象的象徵意義是什麼?
最主要的動物形象包括虎、貓頭鷹,以及與饕餮相呼應的龍。普遍認為虎象徵力量;貓頭鷹的解讀則不一,一說它預示不祥與死亡,也有觀點認為它具夜間守護之力;龍(尤其是饕餮面)則在商代青銅藝術中常被視為神祕而強大的象徵。器背的鳥形提把同樣具有象徵與美學雙重意義。這些象徵如何結合、確切意涵為何,在學術界仍有不同討論。
5. 什麼是「饕餮」(taotie),在這件作品中有何應用?
「饕餮」是商代青銅器中常見的神獸面飾,一般以對稱動物面孔示人,常見特徵包括大眼、角與獠牙。在這件觥中,蓋子前端的虎首即帶有饕餮的面貌特徵,而蓋子上的龍飾也呈現饕餮臉譜。作為商代祭祀器的常見元素,饕餮通常被視為神秘力量與威嚴的象徵。
6. 觥最早在何時出現於考古記錄,這對其用途有何啟示?
據考古發現,觥在安陽地區約公元前1200年開始出現,尤其在婦好墓內有實物出土。這顯示觥作為青銅器的一種特殊祭祀用具,屬於商代後期較晚出現的器型,用於祭祀及祖先崇拜。虎與鳥結合形態的觥出現時間相對短暫,或許與當時特定祭祀活動或社會文化需求相關。
7. 何謂「雷紋」(leiwen),其重要性何在?
「雷紋」是一種常見於商代青銅器的幾何背景紋樣,多為螺旋或迴紋形狀,通常填充在器物的底紋區域。此種精細的線條紋飾強調並分割青銅器上的各種神獸形態,增添藝術層次與象徵意涵,也使器物的造型更加醒目。
8. 這件特定的觥曾在哪些出版物中發表?有哪些知名學者或收藏機構曾研究過類似文物?
這件觥曾刊載於《Chùkoku Ocho No Iki(中國王朝之奇觀)》(2004)。類似的器物與研究也可見於Jessica Rawson主編的《Mysteries of Ancient China》、文物出版社的《中國美術全集.中國青銅器全集》,以及Robert W. BAGLEY的《Shang Ritual Bronzes in the Arthur M. Sackler Collections》。這些出版物與學者的研究突顯了商代青銅器的重要性,並為學術界深入探討同類型文物提供了豐富的參考資料。

The Sengoku Gong
Provenance
Private collection Japan / Tadashi Sengoku
Published
Chùkoku Ocho No Iki (Wonders of the Chinese Dynasties), Osaka Bijutsu Kurakubu (Osaka Art Club), Osaka 2004, pp. 8-11, no. 1.
Similar examples
Mysteries of Ancient China, New Discoveries from the Early Dynasties, edited by Jessica Rawson, published for the Trustees of the British Museum by British Museum Press, London 1996, p. 101, no. 45.
Zhong Guo Meishu Quanji, Zhongguo Qungtong Qi Chuanji, vol. 3, Beijing, Wenwu, 1995, pp. 155, 159, 161.
Robert W. BAGLEY, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Harvard University Press, 1987, p. 134, Fig. 208, and pp. 414, 415, figs 71.3, 73.2, 73.3.
Shang period (1600-1027 BC)
Bronze with brown, green and blue patina; cuprite, malachite and azurite encrustation
Height 10 in. (25.5cm) - Length 13 in. (33cm)
Emblematic character inside the vessel

Ritual container intended to hold fermented drinks. Bronze pouring vessel, shaped like an animal, with a cover, gong.
Assembled, the cover and container fit together and make up a number of mythical animals.
On either side of a crenellated flange, the container has a feline - a "tiger" - in front and a bird - an "owl" - at the rear. The animals are set back to back, and their heads are found on the cover.
Executed in slight relief, the tiger crouches on its hindlegs, its back following the shape of the vessel. The top of its body follows the shape of the pouring spout. Its forelegs are bent. The animal has powerful claws; its tail, lying on the ground, is raised at the tip. Its head, a taotie, at the front of the cover has powerful rectangular jaws. Half-open, these reveal eight incisors as well as fangs. Small ears jut out on either side of the protuberant, round eyes.
Large "S"-shaped horns stand up on top of the head. Sculpted in the round, they consist of kui dragons in profile, each attached to the vessel by its mouth.
On the opposite side of the vessel the rounder-bodied bird, likewise executed in relief, also follows the shape of the container. It has clawed feet. The start of its wings is emphasised by a large spiral, followed by four long feathers punctuated by a group of three small feathers. The bird's head at the back of the cover is that of an owl.
It has a pointed, hooked beak and large round, protuberant eyes pierced by a pupil that lies within a large spiral incised with scales. The two ears edged by horns stand upright on top of the head.
The cover is also decorated with a dragon. A taotie in relief, its head - situated behind that of the tiger - displays an upper lip, protuberant eyes and small ears at the sides. It is crowned by a pair of upright horns. Its sinuous body with a pointed, coiled tip is marked by a central crenellated flange. It also has two sturdy legs, visible at the sides.
A handle in the form of a fabulous bird is attached at the back of the vessel.The guang is decorated all over on a leiwen ground with deep incisions that emphasise the morphology of the various creatures.
The bronze is enhanced by a dark green and light green patina; traces of blue are also visible.
Gong appear at Anyang for the first time in Fu Hao's tomb, i.e. about 1200 BC, and they are therefore relative late-comers to the repertory of bronze vessels, employed for offerings to ancestors.
Gong in the shapes of tigers and birds seem to have been made for only a relatively short time.
Varying interpretations of the tiger and the owl have been offered, but as most of these are based on later texts they remain open to question. The owl, a nocturnal predator, has been considered both as a symbol of misfortune and death, and as a night bird with a protective spirit. The tiger is generally thought to represent power.(1)
(1) 1 "The Ritual Bronze Vessels of the Shang and the Zhou", in Mysteries of Ancient China, New Discoveries from the Early Dynasties, edited by Jessica Rawson, published for the Trustees of the British Museum by British Museum Press, London 1996.

Frequently Asked Questions about the Shang Dynasty Bronze Guang
What is a guang and what was its purpose? A guang is a specific type of ritual bronze vessel from the Shang Dynasty (1600-1027 BC). It's a pouring vessel, often shaped like an animal, designed to hold fermented drinks used in offerings to ancestors. It is typically characterized by having a cover that, when combined with the main vessel, forms the complete shape of a mythical creature.
What is unique about the particular guang described in this text? This guang is distinctive for its elaborate design incorporating multiple mythical animals. The vessel itself features a feline (tiger) and a bird (owl) set back-to-back on either side of a crenellated flange, with their heads forming part of the vessel's cover. Additionally, the cover includes a taotie dragon design. The entire piece is adorned with detailed relief carvings and intricate surface patterns, including a leiwen ground. A handle in the form of a fabulous bird is also attached at the back of the vessel.
What materials and techniques were used to create this bronze vessel? The guang is crafted from bronze and features a rich patina of brown, green, and blue. This coloration is the result of natural encrustations of cuprite, malachite, and azurite. The design elements are achieved through both relief sculpture and deep incisions on the surface, with a variety of sculpted and incised decorative motifs.
What is the significance of the various animal figures present on the guang? The most prominent animal figures are the tiger, the owl, and the dragon. The tiger is generally considered to symbolize power. The owl has varying interpretations, considered both a symbol of misfortune and death and as a protective spirit. The dragon, often represented by the taotie motif, is associated with mythical and powerful creatures within Shang cosmology. The bird-shaped handle contributes to the overall symbolic representation. The specific meanings of these figures and the reason for their inclusion may have varied and are subject to some scholarly debate.
What is a "taotie" and how is it used in this artwork? A taotie is a common motif in Shang Dynasty bronze art, characterized by a symmetrical animal face, often featuring large eyes, horns, and fangs. In this guang, the tiger head on the cover is a taotie, as is the head of the dragon motif also located on the cover. Taotie are often interpreted as representations of mythical beasts and power, and their presence is a hallmark of ritual bronzes.
When did guang vessels appear in the archaeological record and what does this indicate about their usage? Guang vessels appeared relatively late in the repertoire of bronze vessels, with examples first seen at the Anyang site around 1200 BC, particularly in Fu Hao’s tomb. This timing suggests that guang were specific to later Shang ritual practices, used in offering to ancestors. The fact that forms of tigers and birds seem to have been made for a relatively short period further suggests that their purpose and symbolism may have been important for a specific timeframe.
What is the "leiwen" ground and why is it important? The "leiwen" ground refers to the intricate geometric patterns, often in the shape of spirals or meanders, that fill the background spaces on the guang. This style of detailed background is crucial in emphasizing the morphology of the various creatures. These patterns also add to the visual complexity and symbolic depth of the vessel, and are a common feature of Shang Dynasty bronzes.
Where has this specific guang been published and who are some notable scholars or collections that have examined similar artifacts? This guang has been published in the "Chùkoku Ocho No Iki (Wonders of the Chinese Dynasties)" (2004). Similar examples are found in publications by Jessica Rawson ("Mysteries of Ancient China"), "Zhong Guo Meishu Quanji" series, and Robert W. BAGLEY ("Shang Ritual Bronzes in the Arthur M. Sackler Collections"). This demonstrates a rich body of scholarly work exploring the context and significance of Shang Dynasty bronze vessels, specifically within the context of similar bronze works from the era.
Sengoku Tadashi
Mr. Sengoku Tadashi is a prominent Japanese entrepreneur and art collector, widely recognized for his remarkable achievements in the realm of Chinese bronzes. His commercial success and his passion for collecting art have complemented one another, securing him not only a leadership position in business but also a high standing in the international art community.
In the business sector, Mr. Sengoku established a diversified corporate empire through visionary investments and prudent management strategies. While ensuring steady growth for his enterprises, he also channeled substantial resources into the study and preservation of art. His deep interest in ancient Chinese bronzes stands out as a key feature of his collecting endeavors.
Mr. Sengoku’s fascination with early Chinese civilization—particularly the bronze culture of the Shang Dynasty—led him to invest in assembling a significant collection of these artifacts. After achieving business success, he began acquiring rare pieces from various sources and engaging experts in archaeology and art history to authenticate and study them. Over time, his collection of bronzes gained increasing recognition in both Japan and the international art market.
The Shang Dynasty bronze guang (ritual pouring vessel) discussed here is one of the most representative pieces in his collection. Noted for its intricate and exquisite design integrating motifs such as the tiger, owl, and taotie, it testifies to the advanced casting techniques and profound religious symbolism of the Shang period. This guang has appeared in multiple publications and exhibitions, attracting significant attention from art historians and archaeologists worldwide.
Mr. Sengoku’s dedication extends beyond aesthetic and historical appreciation. He actively supports cultural preservation efforts and cross-cultural exchanges, collaborating with museums and research institutions in Japan and abroad. By sponsoring exhibitions focused on bronze artifacts and contributing to scholarly publications, he has played a vital role in fostering dialogue and cooperation between Chinese and Japanese studies of ancient civilizations.
Overall, Mr. Sengoku’s legacy is twofold: the brilliant leadership qualities that ensured his enterprises’ success, and his visionary commitment to collecting and safeguarding invaluable ancient artifacts. Today, he is regarded as a paragon of how corporate culture can be integrated with the stewardship of cultural heritage. His contributions to the study and promotion of Chinese bronzes have set a high standard in the field, inspiring future generations of collectors and scholars alike.
Mr. Sengoku Tadashi’s Collection and Donation
This collection represents the culmination of many years of collecting Chinese art and craftsmanship by Mr. Sengoku Tadashi. Since 2014 (Heisei 26), he has donated over 500 items to Hyōgo Prefecture.
The centerpiece of this donation comprises more than 300 ancient Chinese bronze mirrors. Spanning from the Erlitou culture (around 3,700 years ago, possibly linked to the Xia Dynasty) through the Song Dynasty (about 1,000 years ago), these mirrors are exceptional both in quantity and quality, and serve as invaluable materials for understanding the cultural history of Chinese mirrors.
Mr. Sengoku’s collection also includes a wide array of significant artworks, such as Shang (Yin) and Zhou Dynasty bronzes, Tang Dynasty bronze percussion instruments (known as “響銅”), and ceramic figures. These items collectively hold substantial artistic and historical value.
Mr. Sengoku Tadashi Awarded the Dark Blue Ribbon Medal (Konju Hōshō)
Announcement dated April 9, 2022:In recognition of Mr. Sengoku Tadashi’s contribution in donating part of his collection of metal and ceramic works to Hyōgo Prefecture in 2021 (Reiwa 3), the Japanese government awarded him the Dark Blue Ribbon Medal (Konju Hōshō).
During the presentation ceremony on March 28, 2022, Director Wada Seigo (left) handed the medal certificate and commemorative gifts to Mr. Sengoku (right).
Currently, several ceramic pieces from Mr. Sengoku’s donation are on view in our Spring Special Exhibition “Ceramics of the Han Dynasty.” Many other donated works can also be seen in our permanent exhibits, and we cordially invite you to visit and explore these treasures.

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