商周筆記 vol.07 克利夫蘭博物館：商代青銅子父鼎，对比千石唯司、中国国博「子龍鼎」 - Cleveland Museum, Shang Dynasty Zi Fu Ding, Compared with Zi Long Ding of the Sengoku Tadashi & China National Museum Collection

子父鼎、子龍鼎：Cleveland Museum's Shang Dynasty Zi Fu Ding

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鼎型青銅器是商代及周代常見的祭祀器物，通常以不同大小製作成套，用於祭祖時奉獻穀物和肉類。

這件鼎大而雄偉，給人一種強烈的威壓感。裝飾帶有三個獸面（稱為「饕餮」），其中的動物形象纏繞著其他生物，裝飾線條上顯示出力量的表現。注視的眼睛使得這些獸面顯得神秘威脅，具有宗教象徵意義，旨在引起恐懼感。鼎的三條腿上裝飾著大膽的山羊圖像。

像這樣的青銅鼎，通常是用來向祖先的靈魂奉獻食物的，這些祭祀和葬禮儀式是由統治者或貴族進行的。鼎的意義也超出了祭祀，成為了政治權力和合法性的象徵。在分層社會中，這些高度珍貴的青銅器是身份的象徵，製造者以希望它們“萬世珍藏，世代相傳”為目標。

參考：青銅筆記 vol.23 千石唯司、國家博物館：商代子龍鼎 - Sengoku Tadashi, National Museum, Shang Dynasty Zi Long Ding

子龍鼎，千石唯司舊藏、中國國家博物館藏

子父鼎

中國，商代

克利夫蘭博物館定為西周時代 （約公元前1046–771年）

整體：57.4 cm（22 5/8 英寸）

由塞弗蘭斯和格雷塔·米利金捐贈基金 2003.2

銘文翻譯

根據佳士得拍賣目錄《精美中國古代青銅器、陶瓷及藝術品》，2002年9月20日的拍賣會，拍賣編號220：“器物內部的圖形文字被鑄刻在不同深度，讓完整閱讀這些圖案變得困難。內部兩個幾乎不可見的字符可能是‘子’（可能指兒子或家族符號）和‘父’（指父親）。可能還有一個循環字符，但如果有的話，現在已經無法辨識。”

來源

2003年9月20日 （佳士得紐約，拍賣編號1113，2002年9月20日，未成交，後來售予克利夫蘭博物館）

2003年– 克利夫蘭博物館，美國俄亥俄州克利夫蘭

引用文獻

• 克利夫蘭博物館。《克利夫蘭藝術：克利夫蘭博物館會員雜誌》。第53卷，第5期，2013年9/10月，頁15

• von Spee, Clarissa。“新維度的藝術：克利夫蘭博物館的中國微型及小型物品。”《亞洲藝術》52，第4期（2022年冬季）：117-121，頁118，圖2。

展覽歷史

• 《透過放大鏡看中國：微型和細節藝術品》。克利夫蘭博物館，克利夫蘭，俄亥俄州（主辦） （2022年12月11日至2023年2月26日）。

克利夫蘭博物館的「子父鼎」與千石唯司的「子龍鼎」

常見問題解答：

青銅鼎在古代中國的用途及其象徵意義是什麼？

青銅鼎主要用作商周時期（約公元前1600至公元前256年）的祭祀器物。它們通常以不同大小製成，參與祭祖儀式，奉獻穀物和肉類給祖先靈魂。鼎的功能超越了實際用途，成為了政治權力、合法性和身份的強大象徵。擁有或委託製作這些珍貴的青銅器，標誌著擁有者在當時層級分明的社會結構中的地位，並鞏固了統治者和貴族的權力。

在子父鼎和子龍鼎等鼎器上常見的「饕餮」圖案是什麼，它象徵著什麼？

饕餮是一種常見的動物形象圖案，出現在許多古代中國青銅器上，包括鼎。這個圖案通常是以突出的大眼睛和纏繞的身體構成的動物面具。饕餮被認為具有宗教意義，旨在激發敬畏、尊重甚至恐懼，強調與神靈世界的聯繫。饕餮的解釋各有不同，但通常被認為代表強大的守護靈，或是人與神界之間的聯繫，或者是統治者權威的象徵。

克利夫蘭博物館的子父鼎與中國國博的子龍鼎有何主要區別？

儘管兩者都是用於祭祀的青銅鼎，子父鼎和子龍鼎在多方面有所不同。克利夫蘭博物館的子父鼎來自西周時期（約公元前1046至771年），而子龍鼎則來自晚商時期。子龍鼎的體型較大，站高103厘米，重230公斤，是商代最大的圓形鼎之一。子龍鼎內部銘文寫有「子龍」，而子父鼎的銘文可能包含「子」（兒子或家族符號）和「父」（父親）。在裝飾方面，子龍鼎展示了饕餮圖案和雷紋（雷紋）圖案。

子龍鼎的銘文告訴我們關於其來源和製造社會的哪些信息？

子龍鼎內部的銘文「子龍」有多重重要意義。首先，它提供了一個名字，可能是器物主人或與之相關的家族名稱，這表明該物主屬於商代晚期的「子」氏貴族。其次，銘文中的「龍」字以類似實際龍形的方式刻畫，是青銅器上已知的最早使用「龍」字的例子。這段銘文不僅揭示了個人命名習俗，還反映了商代社會結構、家族制度，以及血統和祖先在當時社會中的重要性。

子龍鼎是如何被重新發現並歸還給中國的？

子龍鼎據報導是在1920年代於中國河南省出土，後來被日本山中商會（Yamanaka）收購並運往日本。多年間，它一直由日本私人收藏者擁有，未曾公開展示。2000年代初，關於此鼎的圖片曝光，吸引了中國藝術專家馬承源的注意。經過一系列談判，涉及日本收藏家千石唯司和中國代表，子龍鼎於2006年成功歸還中國，最終安置於中國國家博物館。

千石唯司是誰，他的藝術收藏有何重要性？

千石唯司是著名的日本商人和藝術收藏家，以其豐富的中國藝術收藏而著稱，尤其是青銅器。他對中國文化遺產的熱愛對子龍鼎的回歸發揮了關鍵作用。除了子龍鼎，千石唯司的收藏還包括超過300面跨越多個朝代的青銅鏡，其他青銅器、陶瓷人物像和樂器等多種中國文物。

千石唯司收集並捐贈中國藝術品的動機是什麼？他因何被表彰？

千石唯司對早期中國文明深感興趣，並認識到中國文化遺產的歷史和藝術價值。他將自己的收藏活動視為一種保存和促進文化遺產的方式。作為對他貢獻的表彰，日本政府授予千石唯司「紫綬褒章」勳章。

子龍鼎的故事及其歸還過程揭示了什麼關於文化遺產和國際合作的重要性？

子龍鼎的經歷展示了文化遺產的重要性及國際合作在保護和歸還重要文物方面的力量。它強調了各國和個人共同保護和促進文化遺產、造福未來世代的責任。子龍鼎也成為跨文化理解與合作的象徵，體現了全球歷史和文化身份的保護。

Bronze tripods of the ding-type were vessels made in sets of different sizes to be used in rituals, in which grain and meat was offered to the spirits of the ancestors.

Description

Large and majestic, this tripod gives the effect of overpowering force. Three animal masks (known as taotie) with coiled creatures are aligned in the decorative frieze. With the gaze of the staring eyes, the animal masks assert a religious presence and are meant to instill fear. Bold images of the ram embellish the three legs of the vessel.

Bronze cauldrons (ding) like this were made for offerings of food to ancestral spirits in sacrificial and funerary rites performed by the rulers or members of the aristocracy. The ding, in particular, assumed additional significance as the symbol of political power and legitimacy. As signs of status in a stratified society, such highly valued bronzes were cast by its makers with the wish to be "forever treasured for ten thousand years, by sons' sons and grandsons' grandsons."

Tripod (Ding)

鼎

1000s BCE

China, Western Zhou dynasty

(c. 1046–771 BCE)

bronze

Overall: 57.4 cm (22 5/8 in.)

Severance and Greta Millikin Purchase Fund 2003.2

Inscription Translation

Notes from Christie's catalogue, "Fine Chinese Archaic Bronzes, Ceramics and Works of Art," Friday 20 September 2002, lot 220. "The pictograph on the inside of the vessel is cast in varying degrees of shallow depth making a full reading of the pictograph difficult. The two barely visible characters may read zi (either meaning son, or a clan sign, 子), and fu (father, 父). There may have been a third cyclical character, but if so, it is now invisible."

September 20, 2003

(Christie's New York, NY, sale 1113, September 20, 2002, lot 220, unsold in the auction, then sold to the Cleveland Museum of Art)

2003–

The Cleveland Museum of Art, Cleveland, OH

Citations

Cleveland Museum of Art. Cleveland Art: The Cleveland Museum of Art Members Magazine. Vol. 53 no. 05, September/October 2013 Mentioned and Reproduced: p. 15 archive.org

von Spee, Clarissa. "Art In New Dimensions: Chinese Miniature and Small Objects at the Cleveland Museum of Art." Arts of Asia 52, no. 4 (Winter 2022): 117–121. Mentioned and reproduced: p. 118, fig. 2

Exhibition History

China through the Magnifying Glass: Masterpieces in Miniature and Detail. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 11, 2022-February 26, 2023).

Cleveland Museum's Zi Fu Ding & Sengoku Tadashi's Zi Long Ding: An FAQ

1. What were bronze dings used for in ancient China, and what significance did they hold?

Bronze dings were primarily used as ritual vessels during the Shang and Zhou dynasties (roughly 1600-256 BCE). They were made in sets of varying sizes for sacrificial ceremonies, particularly to offer food (grains and meat) to ancestral spirits. Dings transcended their practical function and became potent symbols of political power, legitimacy, and status. The ability to possess and commission the creation of these highly valued bronze objects indicated a person's position within the stratified social structure of the time, solidifying the power of rulers and aristocrats.

2. What is the "taotie" motif seen on dings like the Zi Fu Ding and Zi Long Ding, and what does it symbolize?

The taotie is a common zoomorphic (animal-like) motif found on many ancient Chinese bronze vessels, including dings. It typically features a prominent animal mask, often with staring eyes and coiled or intertwined bodies. The taotie is believed to have had religious significance, intended to inspire awe, respect, and even fear, emphasizing a connection to the spiritual realm. Interpretations of the taotie vary, but it is generally understood as representing a powerful guardian spirit, a link between the human and divine worlds, or a symbol of the ruler's authority.

3. What are the key differences between the Zi Fu Ding housed at the Cleveland Museum of Art and the Zi Long Ding at the National Museum of China?

While both are bronze dings used for ritual purposes, the Zi Fu Ding and Zi Long Ding differ in several aspects. The Cleveland Museum dates the Zi Fu Ding to the Western Zhou dynasty (c. 1046–771 BCE), while the Zi Long Ding is from the late Shang Dynasty. The Zi Long Ding is significantly larger, standing at 103cm tall and weighing 230kg, making it one of the largest known circular dings of the Shang Dynasty. The Zi Long Ding is named after the inscription "Zi Long" found inside the vessel, whereas the Zi Fu Ding possibly contains the characters "Zi" (son or clan sign) and "Fu" (father). In terms of decoration, the Zi Long Ding features taotie motifs and leiwen patterns.

4. What does the inscription on the Zi Long Ding tell us about its origins and the society that produced it?

The inscription "Zi Long" on the interior of the Zi Long Ding is significant for several reasons. First, it provides a name, likely that of the vessel's owner or the clan associated with it. It suggests that the owner belonged to the "Zi" lineage, a noble clan from the late Shang Dynasty. Second, the character "Long," meaning dragon, is depicted in a way that resembles an actual dragon, and is the earliest known use of the character “龙” on a bronze artifact. The "Zi Long" inscription adds crucial insight into the society and social relationships, shedding light on personal naming practices, clan structures, and the importance of lineage and ancestry in the Shang Dynasty.

5. How was the Zi Long Ding rediscovered and repatriated to China?

The Zi Long Ding was reportedly unearthed in the 1920s in Henan Province, China, before being acquired by a Japanese firm and transported to Japan. For many years, it remained in the hands of private collectors in Japan, largely unseen by the public. In the early 2000s, images of the Ding surfaced, attracting the attention of Chinese art experts. Through a series of negotiations involving Japanese collector Sengoku Tadashi and Chinese representatives, the Zi Long Ding was successfully acquired and repatriated to China in 2006, eventually finding its home in the National Museum of China.

6. Who is Sengoku Tadashi, and what is the significance of his art collection?

Sengoku Tadashi is a renowned Japanese businessman and art collector, celebrated for his extensive collection of Chinese art, particularly bronzes. His passion for Chinese cultural artifacts played a crucial role in the Zi Long Ding's return to China. Beyond the Zi Long Ding, Sengoku Tadashi's collection encompasses a diverse range of Chinese artifacts, including over 300 bronze mirrors spanning various dynasties, other bronzes, ceramic figures, and musical instruments.

7. What motivated Sengoku Tadashi to collect and donate Chinese art, and how was he recognized for his contributions?

Sengoku Tadashi was deeply fascinated by early Chinese civilization and recognized the historical and artistic value of Chinese cultural artifacts. He viewed his collecting activities as a means of preserving and promoting cultural heritage. As a token of appreciation for his contributions, the Japanese government awarded Sengoku Tadashi the Dark Blue Ribbon Medal.

8. What does the story of the Zi Long Ding and its repatriation reveal about the importance of cultural heritage and international collaboration?

The journey of the Zi Long Ding exemplifies the significance of cultural heritage and the power of international collaboration in preserving and returning important artifacts to their place of origin. It underscores the shared responsibility of nations and individuals to protect and promote cultural heritage for future generations. The Zi Long Ding serves as a testament to the importance of cross-cultural understanding and cooperation in safeguarding world history and cultural identity.