漢代筆記 vol.20 海昏侯國遺址博物館：漢代銀扣羽觴杯，或為海昏侯劉賀生前所用 - Nanchang Han Dynasty Haihunhou State Museum: A Silver-Rimmed Lacquer Eared Cup, Possibly Used by Marquis Liu He
- SACA
- 5 days ago
- 4 min read
Updated: 4 days ago
銀扣羽觴杯存世量極為稀少，目前僅出現在漢代幾個帝王墓中，海昏侯劉賀墓中的銀扣羽觴杯，被認為是劉賀生前使用的器物。大雲山漢景帝之子江都王劉非墓中，也有出現同類的銀扣羽觴杯。
Silver-studded yushang cups are exceedingly rare, with extant examples known only from a few imperial tombs of the Han dynasty. The silver-studded yushang unearthed from the tomb of Liu He, the Marquis of Haihun, is believed to have been a vessel used during his lifetime. A similar cup was also discovered in the tomb of Liu Fei, King of Jiangdu and son of Emperor Jing of Han, at Dayunshan.
南昌漢代海昏侯國遺址博物館2024年5月16日上新一批漆木器及其相關金屬配件，其中有劉賀生前使用過的飲食器皿，折射出當時的生活方式、社會時尚及審美情趣。
此次上新的文物有90余件（套），包括新修復的漆耳杯、漆盤等17件漆木器，展陳於博物館的“丹漆海昏”展廳。
其中一件銀釦漆耳杯推測為侯爺生前使用的酒杯，夾紵胎工藝，橢圓形口，耳緣上翹，杯耳為銀釦耳，耳杯外髹黑漆，內腹壁髹朱漆。
圖為海昏侯墓出土的銀釦漆耳杯。南昌漢代海昏侯國遺址博物館供圖
“釦”原指在器物口緣包鑲金屬的做法。漢代漆耳杯傳承了先秦時期漆器工藝優良的特點，又有所創新，新增了釦器及銘文裝飾等裝飾工藝。劉賀墓中出土的耳杯，從銘文來看，有“御酒”杯、“曹”字杯、“李具”杯等。而銀釦漆耳杯在漢代整體出土較少，是身份地位的象徵，一般是貴族所用。
西漢時期是中國漆工藝史上的“黃金時代”。劉賀是漢武帝的孫子，其生活的年代正是漆藝“黃金時代”中的“黃金時期”。
劉賀墓此前出土漆器約3000件，是全國西漢漆器出土最集中、最系統的一次。考古專家曾指出，墓中出土的漆木器多為夾紵胎，也有木胎漆器，但夾紵胎更為實用，更不易腐蝕。“我們第一個展櫃，對比展示了墓中出土不同胎制的漆器，如木胎、夾紵胎、金屬胎等，來展現當時漆器生產的繁盛。”
參考大英博物館，平壤出土的一件帶銘文，銅扣羽觴杯：
參考近期佳士得拍賣：
參考大雲山漢墓，江都王刘非（漢景帝之子）出土的銀扣羽觴杯：
參考明尼阿波利斯博物館，帶鎏金座羽觴杯：
On May 16, the Nanchang Han Dynasty Haihunhou State Museum unveiled a new collection of lacquerware and associated metal fittings, including vessels believed to have been used by Liu He, the Marquis of Haihun, during his lifetime. These artifacts offer valuable insight into the lifestyle, social fashion, and aesthetic preferences of the Western Han elite.
More than 90 items (or sets) were newly exhibited, among which are 17 restored lacquered wooden wares such as lacquer eared cups and lacquer plates. They are now on view in the museum’s "Crimson Lacquer of Haihun" gallery. Of particular note is a silver-rimmed lacquer eared cup, hypothesized to be the personal wine vessel of the Marquis himself. Crafted using the 夹纻胎 (jiazhou-tai) technique—where layers of silk or hemp cloth are pressed over a core—the cup features an oval mouth, upturned handles (ears), and a contrasting design: the exterior is coated in black lacquer, while the interior bears a vivid cinnabar-red lacquer.
海昏侯墓出土馬蹄金
According to Deputy Director Fan Lijun, the term “kou” (釦) originally referred to the inlay of metal around the rim of vessels. Han dynasty lacquer eared cups inherited the superior craftsmanship of earlier pre-Qin lacquerwares, while also incorporating new innovations such as metal inlays and inscribed decorations. Among the many eared cups unearthed from Liu He’s tomb, some bear inscriptions like “Imperial Wine”, “Cao”, or “Li Ju”—possibly denoting ownership or function. Silver-rimmed lacquer eared cups are rare overall in Han-period archaeology and were likely restricted to the aristocracy, serving as status markers.
The Western Han period is regarded as the “golden age” of Chinese lacquer craftsmanship, and Liu He—being a grandson of Emperor Wu of Han—lived precisely during the pinnacle of this flourishing era.
Previously, over 3,000 pieces of lacquerware were excavated from Liu He’s tomb—the most extensive and systematic discovery of Western Han lacquer artifacts in China to date. Archaeologists have noted that most of the lacquerware was made using the jiazhou-tai technique, though some were also constructed with wooden or metal cores. The cloth-based core made such vessels more durable and resistant to decay. Fan Lijun explains: “In the first showcase of the gallery, we display comparative examples of lacquerware with different cores—wooden, cloth-laminated, and metal—to illustrate the vibrant diversity of Han lacquer production.”
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