春秋戰國 vol.13 秦國：龍形金飾，寶雞下站祭祀遺址出土 - Qin, Golden Dragon, Excavated in Baoji, Shanxi Province

非常精緻精彩的龍形金飾品，漢以及以前的金器，特別是秦國的金器，一直是學者和收藏家關注的重點。參見明尼阿波利斯博物館亞洲部主任柳揚博士發表的文章《柳扬｜瑞士乌尔泽藏秦式金银器 - Qin-style Gold & Silver in the Uldry Collection》https://mp.weixin.qq.com/s/Ouqw9J3BjnDPU3bYbG-cQw

日本九州國立博物館藏有漢委奴國王金印，出土於1784年福岡縣志賀島，經過幾百年的爭論考證，最終定調為漢代，漢光武帝所賜。漢以及以前的黃金的雕刻、製作過程都有明確的痕跡和制式，此枚黃金龍飾是作為參考十分重要的基準座標。此外，漢代的黃金可能不是純金，並不是技術做不到，而是為了硬度的需求有意而為之，比如漢委奴國王金銀，含金量是95%左右，銀4.5%左右，銅大概0.5%，這樣的做法可以使其更堅硬。

天明四年（1784年），福岡市東區志賀島的農夫甚兵衛發現此印，其後由福岡藩主黑田家世代相傳。印面邊長2.3釐米，重108克。鈕作蛇形盤曲狀，印面刻有「漢委奴國王」五字。中國史書《後漢書》記載：建武中元二年（公元57年），光武帝曾賜「印綬」予倭奴國王。學界普遍認為，志賀島出土的這枚金印，即為當年所賜之物。此印對研究日本古代史及對外交流史具有極為重要的史料價值。

This gold seal was discovered in Tenmei 4 (1784) by a farmer named Jinbei on Shikanoshima Island (present-day Higashi-ku, Fukuoka City). It was subsequently transmitted through successive generations of the Kuroda family, the lords of the Fukuoka domain.

The seal measures 2.3 cm on each side and weighs 108 grams. Its knob is shaped in the form of a coiled snake, and the face is engraved with the five characters “漢委奴國王” (King of Na of Wa of Han).

According to the Chinese historical text Hou Hanshu (Book of the Later Han), in the second year of the Jianwu Zhongyuan era (57 CE), Emperor Guangwu of the Han dynasty bestowed an “imperial seal and ribbon” upon the King of Na of Wa. Scholars generally regard the gold seal unearthed on Shikanoshima as the very object granted on that occasion. It constitutes an exceptionally important primary source for the study of Japan’s ancient history and the history of its early foreign relations.

天明4年（1784）に志賀島（福岡市東区）で農夫甚兵衛によって発見され、福岡藩主黒田家で代々伝えられた印である。一辺2.3cmで、重さは108g。つまみは蛇がとぐろを巻いた形状をしており、印面には『漢委奴國王』と刻まれる。中国の歴史書『後漢書』には、建武中元二年(57)に、光武帝が倭奴国王に「印綬」を与えたことが記されているが、これが志賀島で見つかった金印と考えられている。我が国の古代史や対外交渉史を考える上で、極めて重要な資料である。

龍形金飾

春秋中晚期（公元前7世紀上半葉—前476年）

長4.0釐米，寬2.7釐米

陝西省寶雞市下站祭祀遺址出土

1. 這件文物是什麼？

What is this artifact?

這是一件非常精緻的龍形金飾，屬於春秋中晚期秦國金器。漢代及以前的金器（尤其是秦國金器）一直是學者與收藏家關注的重點。

This is an extremely refined dragon-shaped golden ornament of the Qin state from the mid-to-late Spring and Autumn period. Gold objects from the Han dynasty and earlier periods—particularly Qin goldwork—have long been a major focus for both scholars and collectors.

2. 年代與尺寸？

Date and dimensions?

• 年代：春秋中晚期（公元前7世紀上半葉—前476年）

• 尺寸：長4.0釐米，寬2.7釐米

• Period: Mid-to-late Spring and Autumn period (first half of the 7th century BCE – 476 BCE)

• Dimensions: Length 4.0 cm, width 2.7 cm

• 
  

3. 出土地點？

Where was it excavated?

陝西省寶雞市下站祭祀遺址出土。

Excavated from the Xiazhan sacrificial site in Baoji, Shaanxi Province.

4. 為什麼這件金飾特別重要？

Why is this golden ornament particularly important?

漢代及以前的黃金雕刻與製作工藝都留有明確的痕跡與制式。這枚龍形金飾是研究早期金器工藝的重要基準座標。

Gold carving and manufacturing techniques of the Han dynasty and earlier periods left clear traces and standardized methods. This dragon ornament serves as a crucial reference point for studying early goldwork technology and style.

5. 與其他早期金器有何比較價值？

How does it compare with other early gold objects?

日本九州國立博物館藏有「漢委奴國王」金印（1784年福岡縣志賀島出土）。經過數百年考證，該印最終被定為漢代（漢光武帝所賜）。漢代及以前的金器製作痕跡清晰可辨，這枚秦國龍形金飾正可作為重要的對照基準。

The Kyushu National Museum in Japan holds the famous gold seal of the “King of Na of Wa” (excavated in 1784 on Shikanoshima Island, Fukuoka). After centuries of debate, it was confirmed as a Han-dynasty object granted by Emperor Guangwu. The clear manufacturing traces on pre-Han and Han gold objects make this Qin dragon ornament an important comparative benchmark.

6. 相關研究參考？

Recommended further reading?

可參考明尼阿波利斯藝術博物館亞洲部主任柳揚博士的文章：

《柳扬｜瑞士乌尔泽藏秦式金银器 – Qin-style Gold & Silver in the Uldry Collection》

https://mp.weixin.qq.com/s/Ouqw9J3BjnDPU3bYbG-cQw

See the article by Dr. Liu Yang, Curator of Asian Art at the Minneapolis Institute of Art:

“Liu Yang | Qin-style Gold & Silver in the Uldry Collection (Switzerland)”

https://mp.weixin.qq.com/s/Ouqw9J3BjnDPU3bYbG-cQw

This exceptionally refined golden dragon ornament is a rare and important example of early Qin goldwork dating to the mid-to-late Spring and Autumn period (first half of the 7th century BCE to 476 BCE). Measuring only 4.0 cm in length and 2.7 cm in width, the piece demonstrates a remarkable level of technical mastery and artistic sophistication for its small scale. The dragon is rendered with fluid, dynamic contours and carefully articulated details that reveal both the aesthetic sensibility and the advanced metalworking skills of Qin craftsmen during this formative stage of the state’s cultural development.

The ornament was excavated from the Xiazhan sacrificial site in Baoji, Shaanxi Province, a location of considerable archaeological significance for understanding early Qin ritual practice and material culture. Gold objects from the Qin state, and from the pre-Han period more broadly, have long occupied a privileged position in both scholarly research and the collecting world. Their rarity, combined with the high level of craftsmanship they often display, makes them key reference points for the study of early Chinese precious-metal technology, decorative vocabulary, and elite material culture.

In terms of manufacture, gold artifacts of the Han dynasty and earlier periods typically retain clear traces of their production processes—hammering, chasing, engraving, and other techniques—that allow specialists to reconstruct workshop practices with a high degree of confidence. This small dragon ornament serves as an important benchmark within that corpus. Its refined modeling and surface treatment provide valuable comparative material for assessing the technical and stylistic standards of Qin goldwork in the centuries before the unification of China.

A useful point of reference is the famous gold seal of the “King of Na of Wa,” housed in the Kyushu National Museum in Japan. Discovered in 1784 on Shikanoshima Island in Fukuoka, the seal was the subject of prolonged scholarly debate before being firmly attributed to the Han dynasty and identified as a gift from Emperor Guangwu. The clarity of its manufacturing traces, like those visible on this Qin dragon, underscores the diagnostic value of early gold objects as chronological and technical anchors. Together, such pieces help establish a more precise understanding of the development of gold craftsmanship across the Eastern Zhou and early imperial periods.

For further discussion of related Qin-style gold and silver objects, readers may consult the study by Dr. Liu Yang, Curator of Asian Art at the Minneapolis Institute of Art, on the Qin-style pieces in the Swiss Uldry Collection.