漢代筆記 vol.25 洛克菲勒三世收藏：漢代鎏金青銅三足奩，1969年購藏、1979年捐贈紐約亞洲協會 - Rockefeller Collection, Han Dynasty Gilt Bronze Tripod ‘Lian’, Acquired in 1969, Donated to Asia Society NY in 1979
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本器表面所施之鎏金工藝，為中國於西元前四世紀已發展成熟之技術。其製作方式為將金粉懸浮於水銀之中，塗覆於器表後加熱，使水銀揮發，金質則附著於器表，形成極薄而均勻之金層，從而營造出近似實心黃金器物的視覺效果。此一技術不僅顯示出高超的冶金水準，亦反映漢代上層社會對奢華與視覺效果的審美追求。
The gilding which covers this vessel was a Chinese invention of the 4th century B.C.E. and was effected by covering the surface with gold dust suspended in mercury. When the vessel was heated, the mercury evaporated and the gold was deposited as a thin layer on the surface, giving the effect of a solid gold vessel.
漢代鎏金青銅三足奩
西漢，公元一世紀前後中國鎏金青銅高 15.9 公分；口徑 21 公分
紐約亞洲協會藏John D. Rockefeller III 伉儷珍藏館藏編號：1979.107
來源（Provenance）
John D. Rockefeller III，紐約；1969 年購藏。
1979 年由洛克菲勒三世捐贈予 Asia Society，紐約。
此類由圓筒形器身、下承獸形足（多為熊足）所構成的器物，約於西元前三世紀前後開始出現，學界普遍認為其原型可能來自漆木器。部分同類器物被認為用作妝奩，但若干青銅製例上所見銘文，則明確標示其為「溫酒尊」（wenjiuzun），即溫酒用之尊式容器。
與早期中國青銅器常見之程式化龍紋與幾何紋樣不同，本器通體裝飾採寫實風格，表現狩獵與山林場景：可見具有人形身軀、熊首特徵的擬人化形象，追逐虎、熊及似獅鷲之神獸，背景則為連綿起伏之山巒。其中一組場景描繪兩名人物頭戴圓錐形帽，手持長杆，行走於山間，顯示出高度敘事性的構圖意識。
山林與狩獵題材在西漢藝術中頗為常見，反映狩獵作為皇室與貴族重要活動的文化意涵。器物上所呈現的人獸混合形象與神異生物，亦體現漢代社會對「祥瑞」觀念的高度關注，此類吉兆在漢代文獻中屢有記載。相關神話性母題在南方楚地文化中尤為盛行，部分圖像元素或可溯源於南方傳統；相對而言，熊形意象則多被視為北方文化系統之特徵。
Han Dynasty Gilt Bronze Tripod ‘Lian’
1st century BCE
China
Gilt bronze
H. 6 1/4 x Diam. 8 1/4 at mouth in. (15.9 x 21 cm)
Asia Society, New York: Mr. and Mrs. John D. Rockefeller 3rd Collection, 1979.107
Provenance
John D. Rockefeller 3rd, New York, NY; acquired in 1969.
The Asia Society, New York, NY, bequest of John D. Rockefeller 3rd, 1979.
Cylindrical vessels supported on bear-shaped feet were introduced around the 3rd century B.C.E. and were probably based on lacquered wood prototypes. Some of these were used for cosmetic boxes, but inscriptions on some bronze versions define them as wenjiazun "wine warming zun."
Instead of the stylized dragons and geometric patterns that cover earlier Chinese bronzes, the decoration here consists of realistic imagery — hunters and anthropomorphic figures with bear-like heads pursuing tigers, bears, and griffins among rolling hills. In one scene, two figures carrying long poles and conical hats walk through the mountainside. Landscape and hunting scenes were common in the art of the Western Han dynasty (206 B.C.E.-C.E. 9), reflecting the importance of hunting as a sport for royalty.
The presence of humanoid and animal mythical creatures exemplify the intense interest in auspicious omens (xiangrui) that are frequently cited in Han dynasty literature. The mythical imagery had been particularly strong in the southern state of Chu, and it is possible that some of the motifs were borrowed from the south. The bear motifs, on the other hand, are thought to be of northern derivation.
Q1｜這件器物的年代為何？
What is the date of this vessel?
中：本器年代定為西漢時期，約公元前一世紀前後。此一判斷綜合器形結構、裝飾風格及鎏金工藝成熟度而得。
EN:This vessel is dated to the Western Han dynasty, around the 1st century BCE, based on its form, decorative program, and the technical maturity of its gilding.
Q2｜為何稱為「奩」？它是否一定是妝奩？
Why is it called a “lian”? Was it necessarily a cosmetic box?
中：「奩」為後世對此類圓筒形、加蓋容器的分類用語之一。部分同類器物可能用於盛放化妝用品，但已有青銅實例帶銘文標示為「溫酒尊」（wenjiazun），顯示其功能亦可能為溫酒器。因此，「奩」更多是一種形制上的描述，而非對用途的唯一界定。
EN:The term lian is a later classificatory designation for cylindrical lidded vessels. While some examples may have served as cosmetic boxes, inscriptions on certain bronze vessels identify them as wenjiazun (“wine-warming zun”), indicating that function could vary. The term therefore refers more to form than to a fixed use.
Q3｜此類三足熊形足器物的起源為何？
When and how did this vessel type originate?
中：下承熊形足的圓筒式器物，約於公元前三世紀前後出現。學界多認為其原型可能來自漆木器，後轉化為青銅材質，並發展出更為複雜的裝飾系統。
EN:Cylindrical vessels supported on bear-shaped feet emerged around the 3rd century BCE. Scholars generally believe they were derived from lacquered wooden prototypes, later adapted into bronze with increasingly elaborate decoration.
Q4｜本器裝飾風格與早期青銅器有何不同？
How does its decoration differ from earlier Chinese bronzes?
中：相較於商周青銅器常見的程式化龍紋與幾何紋樣，本器採取高度寫實的敘事風格，描繪狩獵、山林與行旅場景，顯示西漢時期圖像語言由象徵走向敘事的轉變。
EN:Unlike the stylized dragons and geometric patterns of Shang and Zhou bronzes, this vessel features realistic, narrative imagery of hunting and mountainous landscapes, reflecting a shift toward storytelling in Western Han visual culture.
Q5｜人獸混合形象與神獸圖像有何文化意涵？
What is the significance of the hybrid human-animal and mythical imagery?
中：此類形象體現漢代社會對「祥瑞」觀念的高度重視。人獸混合與神異生物常見於漢代藝術與文獻之中，象徵天人感應、吉兆降臨等觀念。
EN:These hybrid and mythical figures reflect the Han dynasty’s intense interest in auspicious omens (xiangrui), a concept frequently discussed in contemporary literature and visual culture.
Q6｜楚文化與北方文化在本器中如何體現？
How are southern Chu and northern traditions reflected in this vessel?
中：部分神話性母題可能源自南方楚地文化，而熊形意象則多被視為北方文化系統的重要象徵。本器顯示出漢代藝術中南北文化元素交融的特徵。
EN:Certain mythical motifs may derive from the southern Chu tradition, while bear imagery is generally considered characteristic of northern cultural systems. The vessel exemplifies the blending of regional traditions in Han art.
Q7｜什麼是「鎏金」？這項技術有何特點？
What is gilding, and how was it achieved?
中：本器表面施以鎏金工藝，為中國於公元前四世紀已成熟發展之技術。其方法為將金粉懸浮於水銀中塗覆器表，加熱後使水銀揮發，金質附著於表面，形成極薄而均勻的金層，呈現近似實心金器的視覺效果。
EN:The gilding on this vessel was a Chinese invention of the 4th century BCE. Gold dust suspended in mercury was applied to the surface; when heated, the mercury evaporated, leaving a thin, even layer of gold that gave the appearance of solid gold.
Q8｜此器物的收藏與流傳背景為何？
What is the provenance of this vessel?
中：本器為 John D. Rockefeller III 伉儷於 1969 年購藏，並於 1979 年捐贈予 Asia Society（紐約），現藏於該館。
EN:The vessel was acquired by Mr. and Mrs. John D. Rockefeller III in 1969 and donated to the Asia Society, New York, in 1979, where it remains today.
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