青銅筆記 vol.35 舊金山亞洲藝術博物館：商晚期青銅觶，布倫戴奇收藏 - Asian Art Museum, Avery Brundage Collection, Bronze Vessel of Zhi, Late Shang Dynasty

乾隆帝極度熱衷仿古與收藏古銅器，曾命人編纂《西清古鑑》等大型圖錄，系統整理宮廷所藏青銅器。清宮收藏中有不少商周觶（或類似酒器），乾隆常為它們題詩、配座，甚至親自考證。

商代青銅觶：禮器之精與文玩之雅

青銅觶（zhì）作為中國古代重要的青銅酒器，在商周時期廣泛用於宗廟祭祀與貴族宴饗之禮。它既是禮制文化的載體，亦是當時青銅鑄造工藝的傑出代表。

舊金山亞洲藝術博物館

所藏此件青銅觶（物件編號 B60B682），為商代（約公元前1600–1050 BCE）遺珍，屬於艾弗利·布倫戴奇（Avery Brundage）收藏。器高5英寸（約12.7厘米），寬3⅜英寸（約8.6厘米），尺寸袖珍，造型簡潔優雅，呈橢圓筒狀，口部微侈，腹部輕微鼓起，下承圈足，符合商代晚期至西周早期小型觶的典型特徵。

此器雖體量不大，卻體現了商代青銅工藝的精湛水準。器表或飾以簡化饕餮紋、夔龍紋或雷紋，線條流暢，鑄造精良。即使在有限的空間內，仍能展現出古人對神聖意象的深刻表達。其小巧的尺度，使之有別於大型祭祀用尊、鼎，而更適合近距離賞玩與陳設，成為後世所稱的「弄器」。

與乾隆宮廷收藏的對應

此件觶的造型與清乾隆時期宮廷收藏的多件商周觶高度相似。乾隆皇帝對古銅器抱有極深的崇古情懷，不僅大力搜求商周青銅遺珍，更命人編纂《西清古鑑》、《寧壽鑑古》等巨著，對宮中藏器逐一考證、題詠，並配以紫檀木座或專匣珍藏。台北故宮博物院所藏「吉笵流輝」銅器匣中，即收有乾隆舊藏的西周弦紋觶等類似小件酒器，足見此類造型在清宮鑑古體系中的重要地位。

乾隆時代，此類尺寸適中的古銅觶常被置於書房案頭，作為文房清供與把玩之物。帝王與士大夫透過賞玩古器，寄託對三代禮樂文明的追慕，亦藉此彰顯自身文化修養。此舊金山藏品雖非清宮舊物，但其古意與小巧特質，與乾隆所珍愛的「袖珍青銅弄器」精神高度契合。

Shang Dynasty Bronze Zhi: The Essence of Ritual Vessels and the Elegance of Scholarly Playthings

The bronze zhi (觶) was one of the most important wine vessels in ancient China. During the Shang and Zhou dynasties, it was widely used in ancestral temple rituals and noble banquets. It served not only as a practical vessel but also as a significant carrier of ritual culture and a masterpiece of bronze casting craftsmanship of its time.

The bronze zhi in the collection of the Asian Art Museum of San Francisco (object number B60B682) is a precious artifact from the Shang dynasty (c. 1600–1050 BCE), belonging to the Avery Brundage Collection. Measuring 5 inches (approx. 12.7 cm) in height and 3⅜ inches (approx. 8.6 cm) in width, this vessel is petite in size. Its form is simple and elegant, featuring an elliptical cylindrical body, a slightly flared mouth, a gently swelling belly, and a ring foot. These characteristics are typical of small zhi vessels from the late Shang to early Western Zhou period.

Although modest in scale, this vessel exemplifies the refined bronze craftsmanship of the Shang dynasty. Its surface is likely decorated with simplified taotie (animal mask) motifs, kuilong (one-legged dragon) patterns, or thunder patterns. The lines are fluid, and the casting is of high quality. Even within its limited space, it conveys the profound spiritual expressions of the ancients toward sacred imagery. Its compact size distinguishes it from large ritual vessels such as zun and ding used in grand ceremonies, making it far more suitable for close appreciation and display. Consequently, it became what later generations referred to as a “nongqi” (玩弄器) — a scholarly plaything or connoisseur’s object.

Correspondence with the Qianlong Imperial Collection

The shape of this zhi bears a close resemblance to several Shang and Zhou zhi vessels preserved in the Qing dynasty Qianlong court collection. Emperor Qianlong harbored a profound reverence for antiquity and ancient bronzes. He not only actively acquired Shang and Zhou bronze artifacts but also commissioned the compilation of major catalogues such as the Xiqing Gujian (Western Qing Ancient Mirror) and Ningshou Jiangu. Each piece in the palace collection was meticulously studied, inscribed with imperial poems, and often fitted with rosewood stands or specially made boxes.

In the “Jifan Liuhui” bronze box in the collection of the National Palace Museum in Taipei, several Qianlong-era pieces are preserved, including a Western Zhou string-pattern zhi and other similar small wine vessels. This demonstrates the prominent position such vessel types held within the Qing court’s antiquarian system.

During the Qianlong period, small to medium-sized ancient bronze zhi were frequently placed on scholars’ desks in the imperial study, serving as refined studio ornaments and objects for handling and appreciation. Emperors and literati officials expressed their admiration for the ritual and musical civilization of the Three Dynasties through the connoisseurship of ancient vessels, while simultaneously displaying their own cultural sophistication. Although this San Francisco piece was not part of the original Qing palace collection, its archaic charm and compact size align closely with the spirit of the “pocket-sized bronze nongqi” cherished by Emperor Qianlong.