子龍鼎是商代晚期所鑄造的巨型青銅鼎，不僅以其宏大的體量、洗練的裝飾風格和精湛的鑄造工藝著稱，更因其“子龍”銘文成為研究商代社會結構和龍文化起源的重要實物依據。該器由日本收藏家千石唯司轉讓，最終回歸中國，現藏於中國國家博物館。
The Zi Long Ding is a monumental bronze vessel from the late Shang Dynasty, distinguished by its massive size, succinct decoration, and superb casting techniques. Its “Zi Long” inscription makes it a key artifact for studying Shang society and the origins of dragon symbolism. Once held by Japanese collector Sengoku Tadashi, the ding eventually returned to China and is now housed at the National Museum of China.
子龙鼎
子龍鼎，鑄造於商末，距今有3000餘年歷史。此器口部圓形，厚立耳，微外撇，外側飾兩周凹弦紋，折沿寬緣，腹部橫向寬大，微下垂，下承三蹄足。器頸部以雲雷紋為地，周飾兩類六組浮雕式饕餮紋。足上端飾高浮雕式饕餮紋，下襯三周凹弦紋。
子龍鼎 傳河南輝縣出土 商末 中國國家博物館藏
通高103釐米，口徑80釐米，腹深43釐米，耳高22釐米，足高36.5釐米，重230千克
子龍鼎，因器內壁近口沿處鑄有銘文“子龍”而得名。“子”字較小，下面的“龍”字以雙線勾勒，遒勁有力，恰如一竪立且尾部向右上盤卷的龍形，瓶形角，圓目，張口，生動傳神。
子龍鼎銘文
子龍鼎的文物價值，首先在其端莊雄渾。它是目前所見商代圓鼎中體積最大的重器。它沒有過於繁縟的裝飾，整體端莊、樸素、大氣，極富美感。其造型與花紋，代表了商代銅鼎向西周銅鼎過渡的特徵。
其次在其鑄造工藝，與後（司）母戊鼎不同，子龍鼎鑄造精細，沒有明顯的鑄造缺陷，是中國古代青銅鑄造技術的經典之作。
第三，子龍鼎具有極高的美學價值。
第四，該鼎銘文“子龍”二字，表明其器主很可能是距今3000餘年前居住在今河南輝縣一帶的商代子姓貴族，這對研究商代社會組織結構以及歷史文化具有重要價值。
流傳經過
據傳，子龍鼎系20世紀20年代出土於河南輝縣，經由日本專門從事中國文物國際販賣的山中商會運入日本。之後，雖在日本私人藏家之間有過秘密轉讓，但從未公開示人。
2002年後，子龍鼎的照片經過多種渠道傳至中國，曾有學者見到。2004年6月，上海博物館馬承源、陳佩芬訪日期間，在日本企業家千石唯司兵庫住所客廳外首次見到子龍鼎，驚嘆之余，當即產生將其收購回國之念。
右起：巴納、馬承源、Virginia C.Kane、夏鼐、夏含夷、張政烺、張長壽。1980年The Great Bronze Age of China展覽期間，拍攝於舊金山亞洲藝術博物館。
根據成都晚報2010年11月22日《中國珍貴文物回流揭秘》文章報道：
子龍鼎露面日本的消息迅速在國內文物界流傳。2005年初，正從事國家重點珍貴文物徵集工作的謝小銓在一次偶然的機會中，從時任國家博物館副館長的朱鳳瀚教授那裡獲知子龍鼎的存在，還拿到了一些資料。謝小銓覺得這件青銅器非同小可，便在工作中留心尋訪。
2005年9月，謝小銓與同事在日本開展工作期間，接觸到日本收藏界一些資深人士，並從他們那裡拿到了子龍鼎的詳細資料和照片，同時，他也獲得了一個驚人的消息：國內已經有私人買家在一個創紀錄的價位上與子龍鼎藏家談判購買，並已達成初步意向。情急之下，謝小銓托關係與藏家取得聯繫，藏家表示願意終止與私人買家的談判而改與國家談判，但價格方面要略高於私人買家。
當時謝小銓無法見到實物，也無法立即聯繫專家進行鑒定，而且藏家索價太高，因此暫未表態。回國後，謝小銓立即向國家文物鑒定委員會青銅專業組彙報了子龍鼎的情況，並想約請相關專家赴日本鑒定實物。經過了一段時間，相關手續均已辦妥，一行人準備赴日的時候，他們又獲得了一個令人失望的消息——子龍鼎已運出日本，下落不明。
2005年底，謝小銓得到重要線索，子龍鼎身在中國香港，已有多位內地及國外藏家、炒家在商談購買，據一位接近“國家重點珍貴文物徵集專項經費”項目的文物專家透露，當時幾乎整個拍賣界都知道中國人想買下這件東西。於是他們故意放出消息稱放棄收購子龍鼎，並停止公開蒐集子龍鼎信息。子龍鼎的價格果然開始回落。
幾個月後，當中國文物信息咨詢中心找到這位香港收藏家時，以一個“出乎意料”的低價（4800萬人民幣）成交。到這時，運行了4年的“國家重點珍貴文物徵集專項經費”，已從海內外帶回了203件文物，其中包括著名的龍門石窟佛首、北宋木雕觀音和西周青銅器等。
根據《新京報》2006年10月16日晚間《子龍鼎身世之謎》報道：
2006年4月，淪落異地近百年的國寶子龍鼎“回歸”。
2006年6月，子龍鼎在國家博物館有了第一次與中國觀眾的近距離接觸。
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（guang）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。
FAQ：子龙鼎與千石唯司
1. 子龍鼎是什麼？何時鑄造？
子龍鼎是一件青銅圓鼎（祭祀或烹煮用器），鑄造於商代晚期，距今已有三千餘年的歷史。它以體型巨大而著稱，是目前已知同時期中體量最大的圓形青銅鼎。其造型特徵包括圓形口沿、厚實的立耳、寬闊的折沿、微微下垂的鼓腹以及三隻蹄形足。鼎身飾有饕餮紋（獸面紋），內壁近口沿處鑄有“子龍”二字銘文，極具辨識度。
2. 子龍鼎內壁銘文有何重要意義？
子龍鼎內壁銘文“子龍”兩字，位於近口沿處。“子”字較小，而“龍”字則以雙線勾勒，筆勢勁挺，形似一條尾部向右上盤卷的龍。這既顯示了古代工匠的藝術想象，也暗示了使用或擁有者的身份。根據研究，“子龍”應為器主之名，或與其所屬的“子”姓貴族有關。這一銘文同時是目前已知青銅器上最早出現“龍”字的例證，對研究商代人名、族屬關係以及龍文化的早期形態具有重要意義。
3. 子龍鼎在設計和工藝方面有哪些獨特之處？
子龍鼎之所以獨特，主要體現在以下方面：
巨大的體量：它是已知商代圓鼎中體型最大的重器，造型端莊大氣。
設計簡約而氣勢恢宏：與一些紋飾複雜的青銅器不同，子龍鼎的裝飾相對簡潔，突出饕餮紋與雷紋（雲雷紋）的有機結合，風格由商代晚期向西周過渡。
鑄造工藝精湛：與後期的司母戊鼎（後母戊鼎）相比，子龍鼎的鑄造更為精細，沒有明顯鑄造缺陷，充分體現了當時高超的青銅冶鑄技術。
審美價值突出：其整體比例勻稱，裝飾佈局簡潔有序，呈現出古樸凝重之美。
4. 子龍鼎如何被發現，並在入藏中國國家博物館之前經歷了怎樣的流傳？
據傳，子龍鼎於20世紀20年代出土於河南輝縣。其後被日本山中商會收購，運往日本，輾轉流入日本私人藏家手中，但長期未曾公開展出。2002年以後，子龍鼎的照片經多方渠道傳至中國，引起學者關注。2004年，上海博物館專家馬承源、陳佩芬在日本企業家千石唯司的兵庫住所首次見到實物，並在大阪美術俱樂部的“中國王朝之粹”特展上得以進一步研究。2005年，子龍鼎被運至香港，多方藏家及投機者試圖收購。中國國家文物局相關人員與子龍鼎持有人直接接觸，通過談判獲得優先購買權。最終，子龍鼎成功回歸中國，現藏於中國國家博物館。
5. 千石唯司是誰？他在子龍鼎的歷史中扮演了什麼角色？
千石唯司是日本一位知名企業家兼藝術收藏家，尤以收藏中國青銅器著稱。他曾在自己位於兵庫的住所收藏並展示子龍鼎。2004年，他還在大阪策劃了題為“中國王朝之粹”的藝術展，子龍鼎作為“首器”在展覽中亮相。正是通過千石唯司的協助和讓渡意願，中國方面才得以與其持有人開展談判，最終促成子龍鼎重返中國。
6. 除子龍鼎之外，千石唯司還收藏了哪些類型的文物？
千石唯司收藏的中國文物種類豐富。其中，最引人注目的是超過300面的中國古代青銅鏡，年代從可能為夏代的二裡頭文化，一直延續至宋代。他還收藏了部分商周時期的青銅器、唐代的打擊樂器以及一些陶瓷俑等，體系較為完整，具有重要的研究和藝術價值。
7. 千石唯司收藏和捐贈的文化與歷史價值體現在哪些方面？
千石唯司對中國古代藝術品的長期關注與收藏，不僅保存了大量珍貴文物，也為中日兩國學術文化交流搭建了平台。他先後將500余件藏品捐贈給日本兵庫縣政府，其中包括300多面中國古代青銅鏡。這些文物為學界深入探究古代中國的歷史與藝術提供了寶貴的實物資料。他因此獲日本政府頒發的“紺綬褒章”（Dark Blue Ribbon Medal），以表彰其對社會和文化的貢獻。
8. 子龍鼎如何加深我們對商代的理解？
子龍鼎在社會、藝術和技術層面都提供了寶貴的信息。其規模、造型與銘文共同揭示了商代貴族體系、祭祀禮制和工藝水準的高度發達。銘文“子龍”及“龍”字形的早期出現，表明當時對龍的崇拜和命名方式已相當成熟。從子龍鼎的鑄造風格可看出商周過渡時期在藝術理念和技術工藝上的延續與演變，對研究中國青銅文明、早期國家制度以及社會組織結構都具有重要意義。
禮和萬方展覽
商代后期 子龙鼎 高 103cm 口径 80cm 重230kg
传20世纪20年代河南辉县出土 中国国家博物馆藏
圆形展台逆时针摆放的最后一件是可以与后母戊鼎比肩的商代青铜重器子龙鼎，宽沿，垂腹圆底，厚立耳，微外撇，下接三蹄足。鼎的颈部和足部均装饰饕餮纹。整器的造型雄伟稳重，因其内壁近口缘处铸有“子龙”二字而得名，是已知出土的商代青铜圆鼎中体积最大的一件，同时也是迄今所知最早带有“龙”字的青铜器。
与大盂鼎、大克鼎的铭文相比，商代末期出现的子龙鼎铭文可谓“惜字如金”。关于其铭文的释读，目前在学术界的解读视角较多。宏观来看，此类简短精炼的铭文不带有动词，属于“早期铭文”的范畴，多用以铸记作器者、族属或受祭者一类信息。“子某”的称谓在商代甲骨文和金文中较为常见，也见于传世文献。甲骨文中的“子某”，有的指具有宗法贵族身份的商王之子，也有的指商王朝内担任重臣的宗法贵族之长。后者虽不一定与商王室具有血缘关系，但较为多见。
The Zi Long Ding
Cast during the late Shang Dynasty, over 3,000 years ago, the Zi Long Ding (子龙鼎) features a round mouth, thick upright handles that flare slightly outward, and two recessed string bands around the exterior. The rim is broad and folded; the belly is wide and slightly drooping, resting on three hoof-shaped legs. The neck is adorned with a ground of leiwen(“cloud-and-thunder” pattern), upon which appear six sets of taotie (animal-mask) motifs in low relief. Each leg is topped by a high-relief taotie mask, underneath which run three recessed string bands.
Zi Long DingLate Shang DynastyReportedly unearthed in Hui County, Henan ProvinceCollection of the National Museum of ChinaOverall height: 103 cmMouth diameter: 80 cmDepth of belly: 43 cmHandle height: 22 cmLeg height: 36.5 cmWeight: 230 kg
The vessel derives its name from the two-character inscription “子龙” (Zi Long) near the mouth on the interior wall. The character “子” is relatively small, while the “龙” beneath is rendered in double outlines with vigorous strokes, suggesting a single vertical form whose tail coils upward to the right. With bottle-shaped horns, round eyes, and an open mouth, it vividly evokes a stylized dragon figure.
Inscription and Significance
Majestic Form
The Zi Long Ding is currently the largest known circular ding of the Shang Dynasty. Free of overly ornate decoration, the vessel’s overall bearing is dignified, simple, and grand, displaying remarkable aesthetic appeal. Its shape and motifs illustrate transitional characteristics from the Shang to the Western Zhou period.
Exquisite Casting
Unlike the later (Si) Mu Wu Ding, the Zi Long Ding was cast with great precision, showing no obvious defects. It stands as a classic example of ancient Chinese bronze-casting technology.
High Aesthetic Value
Beyond its technical mastery, the vessel’s balanced proportions and restrained decorative scheme lend it significant artistic merit.
Historical Insight
The inscription “子龙” indicates that the vessel’s owner likely belonged to the “Zi” lineage, a noble clan residing in what is now Hui County, Henan, more than 3,000 years ago. This is highly valuable for the study of Shang Dynasty social structure and cultural history.
Provenance and History
According to tradition, the Zi Long Ding was unearthed in the 1920s in Hui County, Henan Province. It was subsequently acquired by the Yamanaka Company—then engaged in international trade of Chinese artifacts—and transported to Japan. It circulated among private collectors there but was never publicly exhibited.
After 2002, photographs of the Zi Long Ding reached Chinese scholars through various channels. In June 2004, during a visit to Japan, Shanghai Museum experts Ma Chengyuan and Chen Peifen first saw the ding outside the living room of Japanese businessman Sengoku Tadashi’s residence in Hyōgo. Impressed by its grandeur, they immediately resolved to seek its repatriation.
1. Excerpt from the Chengdu Evening Post (2010-11-22)
The Appearance of the Zilong Ding in Japan
News that the Zilong Ding had surfaced in Japan spread rapidly within China’s cultural relics community. In early 2005, Mr. Xie Xiaoquan (謝小銓), who was then working on a project to acquire major precious cultural artifacts for the nation, happened to learn of the Zilong Ding’s existence from Professor Zhu Fenghan (朱鳳瀚), who was serving as the Deputy Director of the National Museum of China. Professor Zhu also provided him with some relevant documentation. Recognizing that this bronze vessel was of exceptional importance, Mr. Xie took special care to track it down as part of his ongoing work.
Negotiations in Japan
In September 2005, while in Japan with colleagues for professional duties, Mr. Xie managed to obtain detailed information and photographs of the Zilong Ding through seasoned members of the Japanese collecting community. At the same time, he received startling news: a Chinese private buyer had already entered negotiations with the collector at a record-high price, and they had reached a preliminary agreement. Alarmed by this development, Mr. Xie used his connections to contact the owner of the Zilong Ding. The owner expressed willingness to halt negotiations with the private buyer and instead negotiate with the Chinese government, but insisted on a price slightly higher than what the private buyer was offering.
At that time, Mr. Xie was unable to see the artifact in person or to contact experts for immediate authentication. Moreover, the asking price was exorbitant, so he refrained from making a firm commitment. Upon returning to China, he immediately reported the situation to the National Cultural Relics Appraisal Committee’s bronze specialist group and planned to arrange for experts to travel to Japan for an on-site evaluation. After a period of preparing the necessary documents, Mr. Xie and his team were just about to depart for Japan when they received disappointing news: the Zilong Ding had already been moved out of Japan, and its whereabouts were unknown.
Discovery in Hong Kong
Toward the end of 2005, Mr. Xie obtained a crucial lead indicating that the Zilong Ding was now in Hong Kong. Several Mainland Chinese and international collectors or speculators were already in talks to purchase it. According to a cultural relics expert familiar with the “National Key Precious Cultural Relics Acquisition Fund” project, practically the entire auction world knew that the Chinese government was eager to acquire this piece. To counteract the soaring price, officials deliberately released information suggesting they had given up on acquiring the Zilong Ding and also ceased all public efforts to gather information about it. As a result, the price began to drop.
A few months later, when the China Cultural Relics Information & Consultation Center [中國文物信息咨詢中心] made contact with the Hong Kong collector, they were able to finalize the purchase at a “surprisingly” low price—48 million RMB. By that time, after four years of operating the “National Key Precious Cultural Relics Acquisition Fund,” a total of 203 cultural relics had been secured from across China and overseas, including the famous Longmen Grottoes Buddha Head, a Northern Song wooden Guanyin statue, and other Western Zhou–era bronzes.
2. Excerpt from The Beijing News (2006-10-16), “The Mystery of the Zilong Ding’s Origins”
Return to China
In April 2006, after nearly a century of exile, the national treasure known as the Zilong Ding finally “returned.”
By June 2006, the Zilong Ding was exhibited for the first time at the National Museum of China, offering Chinese audiences their first close-up look at this extraordinary bronze vessel.
“Ritual Vessels for a Harmonious World” Exhibition
Late Shang Dynasty, Zi Long Ding
Height: 103 cm
Mouth Diameter: 80 cm
Weight: 230 kg
Reportedly unearthed in Hui County, Henan, in the 1920sCollection of the National Museum of China
Displayed last on a circular stand, rotating counterclockwise, the Zi Long Ding shares renown with the Houmuwu Dingas one of the most important bronze treasures of the late Shang. With a broad rim, a drooping belly, thick upright handles flaring slightly, and three hoof-shaped legs, it is richly decorated with taotie motifs on both the neck and the legs. The vessel’s imposing shape and grand dimensions have inspired awe ever since it was named for the two “子龙” characters cast on its interior wall. It is the largest known Shang Dynasty bronze ding with a round body and currently the earliest example bearing the character “龙” (dragon).
Compared to the inscriptions of the Da Yu Ding or Da Ke Ding from the Western Zhou period, the late Shang inscription on the Zi Long Ding is notably concise. Scholarly interpretations differ, but from a broad perspective, such brief inscriptions—often without verbs—belong to what are termed “early inscriptions,” generally used for noting the maker, lineage, or honoree of a sacrificial vessel. The expression “子某” (“Zi + name”) appears frequently in Shang oracle bone and bronze inscriptions, as well as in transmitted texts. In some oracle bones, “子某” designates a royal prince with noble lineage; in others, it refers to a high-ranking noble or clan leader serving within the Shang royal domain, not necessarily connected by blood to the royal house—though the latter was more common.
This Zi Long Ding thus stands at the nexus of art, technology, and historical inquiry, offering profound insights into the bronze craftsmanship, ritual practices, and social hierarchies of the late Shang Dynasty.
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.
FAQ: Zi Long Ding and Sengoku Tadashi
What is the Zi Long Ding, and when was it made? The Zi Long Ding is a large bronze ding (a ritual cooking vessel) cast during the late Shang Dynasty, over 3,000 years ago. It is notable for being the largest known circular ding from that period. The ding is characterized by its round mouth, thick upright handles, a broad rim, a slightly drooping belly, and three hoof-shaped legs. It's adorned with taotie (animal-mask) motifs and has a distinctive inscription inside.
What is the significance of the inscription inside the Zi Long Ding? The inscription "子龙" (Zi Long) is found near the mouth on the interior wall of the vessel. The character "子" (Zi) is small, while the character "龙" (Long), meaning dragon, is rendered with vigorous, double outlines, resembling a stylized dragon. This inscription is believed to be the name of the vessel’s owner, likely a member of the "Zi" lineage, a noble clan during the Shang Dynasty, who probably lived in the area around modern-day Hui County, Henan Province. It is also the earliest known example of the character "龙" on a bronze artifact.
What makes the Zi Long Ding unique in terms of its design and craftsmanship? The Zi Long Ding is unique for its size, simplicity, and grandeur. It is the largest known circular ding from the Shang Dynasty, and it transitions from the Shang to the Western Zhou style. Unlike the later Si Mu Wu Ding, it was cast with exceptional precision, showcasing the advanced bronze-casting techniques of the era with no apparent defects. Its balanced proportions and restrained decorative scheme, specifically the use of taotie motifs and leiwen (cloud-and-thunder pattern) demonstrate sophisticated Shang artistry.
How was the Zi Long Ding discovered, and what was its journey before being acquired by the National Museum of China? The Zi Long Ding was reportedly unearthed in the 1920s in Hui County, Henan Province. It was then acquired by the Yamanaka Company, a Japanese firm involved in the international trade of Chinese artifacts. The ding was taken to Japan and circulated among private collectors, but it was not publicly displayed. After 2002, photos of the ding reached Chinese scholars, leading to its discovery by the Shanghai Museum experts during a visit to Japan in 2004. Eventually, through negotiations, the Zi Long Ding was acquired by the National Museum of China.
Who is Sengoku Tadashi, and what was his role in the Zi Long Ding's history? Sengoku Tadashi is a prominent Japanese entrepreneur and art collector known for his extensive collection of Chinese bronzes. He hosted the Zi Long Ding at his residence, which is where the Shanghai Museum experts discovered it. He later exhibited it in his "Essence of Chinese Dynasties" exhibition in Osaka. His willingness to negotiate with Chinese representatives ultimately led to the ding’s return to China, making him a key figure in its history.
Besides the Zi Long Ding, what other types of artifacts did Sengoku Tadashi collect? Sengoku Tadashi’s collection includes a wide variety of Chinese artifacts, but his collection of ancient Chinese bronze mirrors, numbering over 300, is particularly significant. These mirrors span from the Erlitou culture (possibly Xia Dynasty) to the Song Dynasty. He also collected other Shang and Zhou Dynasty bronzes, Tang Dynasty percussion instruments, and ceramic figures.
What is the cultural and historical importance of Sengoku Tadashi's collection and donation? Sengoku Tadashi's collection represents a significant effort in preserving Chinese art and craftsmanship. His donation of over 500 items to Hyōgo Prefecture, including more than 300 bronze mirrors, is a major contribution to the study and understanding of ancient Chinese culture. His collecting and donations serve as a bridge between China and Japan and contribute to fostering collaboration between scholars in both countries. He was awarded the Dark Blue Ribbon Medal (Konju Hōshō) by the Japanese government in recognition of his contributions.
How does the Zi Long Ding enhance our understanding of the Shang Dynasty? The Zi Long Ding provides valuable insights into Shang Dynasty society, art, and technology. Its size, design, and inscription reveal details about social organization, noble lineages, ritual practices, and the advanced bronze-casting techniques of the time. The inscription “子龙” and the presence of the dragon character are important for understanding the cultural and personal names in use during this period. As the largest known circular ding of its time, it highlights the advanced metallurgy and artistic sophistication of the Shang period. Its transition style offers clues to the cultural continuity between the Shang and Zhou dynasties.
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