拍賣筆記 vol.104 佳士得紐約：山中商會，唐抱子石獅，6.3萬美元售出 - Yamanaka, A Tang Dynasty Puddingstone Carving Of A Seated Lion

6.3萬美元售出給現場女士，人民幣45萬元。號牌890。

以「礫岩（puddingstone）」材質雕刻如此尺寸龐大的唐代獅像實屬罕見。本尊唐代礫岩獅雕像擁有重要且詳盡的收藏傳承記錄，最早為著名中國古美術商——大阪山中商會（Yamanaka & Co.）舊藏，曾於1926年於大阪舉辦之「東西古陶金石展觀」（Tōzai kotō kinseki tenkan）中展出。

值得注意的是，美國收藏家查爾斯・蘭・弗利爾（Charles Lang Freer, 1854-1919）生前收藏之一件唐代礫岩獅雕塑，亦購自山中商會，尺寸接近此件，現典藏於美國華盛頓弗利爾美術館。

美國大都會博物館藏有一隻類似的石獅（Object Number: 24.74），皮殼更為平滑：

H. 9 1/2 in. (24.1 cm), Base: D. 4 3/4 in. (12.1 cm)

C. T. Loo & Co. , New York, until 1924; sold to MMA

弗利爾美術館的同款獅子FS-6665，同樣來自山中商會：

H x W x D: 28.3 x 14 x 17.4 cm (11 1/8 x 5 1/2 x 6 7/8 in)

絕版威尼斯1954中國藝術大展圖錄：MOSTRA D'ARTE CINESE 1954

Buy Now

綜合來看，此次拍賣的獅子造型兇猛，藝術表達上更為兇猛。但皮殼有風化影響，或最終會影響成交的價格。中國藏家較少收藏雕刻類器物，主要群體為中國當代藝術家，爾近年中國當代藝術交易直線下滑，影響了藝術家的收入，本來奄奄一息的中國古代雕塑又雪上加霜。

山中商會獅子：Tang Dynasty Puddingstone Lion_ Yamanaka Provenance

0:00

新英格蘭珍藏

唐 抱子石獅

TANG DYNASTY (AD 618-907)

估價

美元 50,000 – 美元 70,000

11 1⁄8 in. (28.2 cm.) high

來源

山中商會，大阪，1926年以前

永谷壽三(1905-1994)珍藏，芝加哥

出版

山中商會，《東西古陶金石展觀》，大阪， 1926年， 編號363

展覽

大阪，大阪美術俱樂部，山中商會， 「東西古陶金石展觀」，1926年11月10-12日

此尊唐代獅形雕像姿態威猛健碩，表情兇猛威嚴，體現了唐代藝術中強健有力的雕塑風格。至唐代，中國疆域版圖空前廣闊，國力鼎盛，影響力更勝以往各代，當時外國使臣進貢之珍寶中，據說已有活獅的身影，獅子的形象因此成為當時繪畫及雕塑藝術深入研究與描摹的重要主題。此器所呈現出的雄健氣勢與凶猛神情，正是唐代雕塑精髓的最佳體現，象徵著王權尊貴與威嚴，彰顯盛唐王朝威勢之巔峰。

以「礫岩（puddingstone）」材質雕刻如此尺寸龐大的唐代獅像實屬罕見。礫岩（puddingstone）為一個統稱，泛指由碎石凝結而成之複合石材，依據成分差異大致可區分為兩類：一類為本件雕像所使用的石灰質礫岩，於中國境內多處皆有產出，具有約一千二百年以上的悠久使用歷史，廣泛見於中國本土藝術中；另一類則為石英質礫岩，係自清代早期開始從外地進口，多用於製作鼻煙壺、扳指等小型文玩器物。

可供參考之其他唐代礫岩獅形雕塑，尚有華盛頓弗利爾美術館藏的一件較小四山鏡（直徑11.7公分），見J.K. Murray編《A Decade of Discovery, Selected Acquisitions, 1970-1980》，華盛頓，1969年，頁18-19；以及克利夫蘭美術館藏另件更小者（直徑10.4公分），館藏編號1995.281。另外亦可參考一件較大、紋飾略有不同的青銅鏡（直徑18公分），其背部飾有三個山形紋與跳躍之鹿紋交替排列，曾刊載於馮浩德（Clarissa von Spee）策展之圖錄《中國江南天堂：長江下游文物精華》（China’s Southern Paradise: Treasures from the Lower Yangzi Delta），克利夫蘭，2023年，頁102，編號10。另見2010年9月16日佳士得紐約安思遠堂專場拍賣之五山鏡（拍品909號），以及2021年5月28日佳士得香港售出之六山鏡（拍品3013號）。

本尊唐代礫岩獅雕像擁有重要且詳盡的收藏傳承記錄，最早為著名中國古美術商——大阪山中商會（Yamanaka & Co.）舊藏，曾於1926年於大阪舉辦之「東西古陶金石展觀」（Tōzai kotō kinseki tenkan）中展出（圖一）。值得注意的是，美國收藏家查爾斯・蘭・弗利爾（Charles Lang Freer, 1854-1919）生前收藏之一件唐代礫岩獅雕塑，亦購自山中商會，尺寸接近此件，現典藏於美國華盛頓弗利爾美術館（圖二）。

此尊礫岩獅雕後進入日本重要收藏家永谷壽三（Hizaso Nagatani, 1905-1994）之收藏。長谷谷氏早年曾任職於山中商會（Yamanaka & Co.），17歲即入行，後來成為該會的重要人物，並於美術界享有盛名，曾為包括史蒂芬・瓊肯克三世（Stephen Junkunc III）、羅伯特・梅耶（Robert Mayer）、艾弗里・布倫戴奇（Avery Brundage）及詹姆斯與瑪麗琳・奧爾斯朵夫（James and Marilynn Alsdorf）等重要藏家提供收藏服務，其收藏脈絡與影響力可謂卓越不凡。

總括而言，此件唐代礫岩獅形雕像不僅材質珍罕，且工藝精湛、保存良好，兼具藝術與歷史研究價值，是理解唐代中外交流、宮廷藝術鑄造水準、以及盛唐雕塑美學的重要實例。

常見問題解答：唐代礫岩石獅

1. 此件礫岩石獅雕像的年代與產地為何？本雕像斷代為唐朝（公元618-907年），唐代是中國歷史上國力鼎盛、文化繁榮的重要時期。所用材質為一種石灰岩礫岩（puddingstone），推測取材自中國境內不同地區。這種礫岩在中國藝術史上的使用已逾1200年，歷史悠久。

2. 此尊唐代礫岩石獅雕像有何特別之處？該作品的重要性體現在數個方面：首先，其尺寸較大（高達11 1/8英吋或28.2公分），在以礫岩雕刻的唐代石獅中相當罕見；其次，雕像呈現出雄壯有力的身軀及生動威猛的表情，這正符合唐代藝術中強勁寫實、充滿生命力的風格特色；最後，其來源明確，曾歸屬著名的山中商會（Yamanaka & Co.）及永谷壽三（Hizaso Nagatani）收藏，為此雕塑增添重要的歷史與藝術史價值。

3. 獅子在唐代有何象徵意義？至唐代，獅子已成為帝國尊貴與威權的象徵，經常被雕塑成威嚴的守護者形象。據考證，當時有真正的獅子作為外邦朝貢獻給唐代皇帝，使得獅子在繪畫和雕塑中的形象逐漸精準、細膩。本雕像雄壯的氣勢即體現出唐朝帝國力量與威儀的象徵性意涵。

4. 何謂「礫岩」（puddingstone）？其運用在本雕塑中有何重要性？「礫岩」（puddingstone）泛指由鵝卵石凝結而成的礫質岩石。在中國藝術語境中，主要存在兩種類型：一種是本作品使用的石灰岩礫岩，盛產於中國本土，藝術傳統悠久；另一種則是清代後期進口的石英質礫岩，多用於製作小型藝術品。使用本土石灰岩礫岩製作如此大型的唐代雕塑極為稀有，凸顯出本雕塑之獨特珍貴性。

5. 是否有其他已知唐代礫岩石獅雕塑的例子？有的，儘管較大尺寸的礫岩石獅非常稀少，但文獻提及數件較小型的唐代礫岩石獅，如美國華盛頓特區弗利爾美術館（Freer Gallery of Art）收藏一件，美國克里夫蘭藝術博物館（Cleveland Museum of Art）收藏另一件，以及曾於佳士得拍賣的赫伯特與弗洛倫斯·歐文（Herbert and Florence Irving）舊藏一例。這些例證有助於理解本雕塑的尺寸及稀有性。

6. 此唐代礫岩石獅的來源及收藏歷史為何？此雕塑之來源極具聲望，最早為位於大阪、以經營中國藝術品而著稱的山中商會（Yamanaka & Co.）舊藏，並於1926年展出。後來，本品由曾任職於山中商會、且享有盛譽的藝術界人士永谷壽三（Hizaso Nagatani）收藏。

7. 本雕像如何反映唐代藝術的特徵？雕塑強健雄渾的體態、動態的姿勢及逼真威猛的神情，均為唐代雕塑藝術的典型特徵。唐代藝術以其活潑奔放、寫實自然而聞名，反映了唐帝國的國力鼎盛、自信與對外開放的風氣。此石獅威嚴壯碩的氣勢與氣魄，完美地展現了唐代藝術的精神。

8. 此尊唐代礫岩石獅的估價為多少？根據提供的資訊，此唐代礫岩坐獅雕塑的估價介於50,000至70,000美元之間。

Property from a New England Collection

A VERY RARE LARGE PUDDINGSTONE CARVING OF A SEATED LION

TANG DYNASTY (AD 618-907)

Estimate

USD 50,000 – USD 70,000

A VERY RARE LARGE PUDDINGSTONE CARVING OF A SEATED LION

TANG DYNASTY (AD 618-907)

11 1⁄8 in. (28.2 cm.) high

PROVENANCE

Yamanaka & Co., Osaka, before 1926.

Hisazo Nagatani (1905-1994) Collection, Chicago.

LITERATURE

Yamanaka & Co., Tozai koto kinseki tenkan, Osaka, 1926, no. 363.

EXHIBITED

Osaka, Osaka Bijutsu Club, Yamanaka & Co., Tozai koto kinseki tenkan, 10-12 November 1926.

The powerful, muscular body and ferocious expression of this remarkable lion sculpture are hallmarks of Tang sculptural vitality and naturalism. By the Tang dynasty, the lion had established its position as a commanding guardian figure and symbol of imperial prestige and power. The Tang emperors greatly expanded the borders of their realm, and through trade and tributary alliances, their sphere of influence was greater than any other previous dynasty. Lions were said to have been among the gifts of tribute to the Tang emperors, and their form was closely studied in both painting and sculpture. 

It is very rare to find a such a large figure of a lion carved from puddingstone, a blanket term covering a wide variety of conglomerate stones made up of pebbles held together by sedimentary or siliceous rock. Historically, two types of puddingstone with different mineralogical make-up were used in a Chinese art context. The first type, as represented by the current figure, is a limestone conglomerate, thought to be locally sourced from various geographical origins within China, and which has a long-standing tradition in Chinese art lasting some 1,200 years. The other type is a quartz conglomerate which was imported to China starting in the early Qing dynasty and was used for small intimate objects such as thumb rings and snuff bottles.

For other Tang puddingstone figures of seated lions, but of smaller size, see the figure (24.1 cm.) dated to the Tang dynasty, 8th century, in the collection of The Metropolitan Museum of Art, New York, illustrated by L. Roberts in Treasures from The Metropolitan Museum of Art, New York, 1979, p. 39, no. 28, and the figure (20.5 cm.) from the Eumorfopoulos Collection, London, illustrated by L. Ashton in An Introduction to the Study of Chinese Sculpture, New York, 1924, pl. L. See, also, the smaller Tang puddingstone lion (14.3 cm.) from the collection of Herbert and Florence Irving sold at Christie’s New York, 21 March 2019, lot 1182, and the lion (11.6. cm.) from the collection of Mineo Hata sold at Sotheby’s Hong Kong, 29 October 2024, lot 2012.

The current sculpture has a long and illustrious provenance, having been with the preeminent Chinese art dealer Yamanaka & Co., Osaka, and included in the firm’s 1926 exhibition Tōzai kotō kinseki tenkan (Grand Exhibition of Ancient Pottery, Bronzes and Stone Arts from the East and West) at the Osaka Bijutsu Club. (Fig. 1) Interestingly, Yamanaka & Co. handled another Tang puddingstone lion of virtually the same size as the current figure, which it sold in 1913 to Charles Lang Freer (1854-1919), who bequeathed it upon his death to the Freer Gallery of Art, National Museum of Asian Art. (Fig. 2) 

The current figure subsequently entered the collection of Hizaso Nagatani (1905-1994), who joined Yamanaka & Co. at the age of 17 and subsequently managed its Chicago branch on the Magnificent Mile until the firm ceased business operations in 1944. That same year he opened a new gallery on North Michigan Avenue in his own name, Nagatani & Co., cultivating over the following several decades an impressive roster of clients including Stephen Junkunc III, Robert Mayer, Avery Brundage, and James and Marilynn Alsdorf.

Frequently Asked Questions: Tang Dynasty Puddingstone Lion

1. What is the estimated age and origin of this puddingstone lion sculpture? This sculpture is dated to the Tang Dynasty (AD 618-907), a period of significant imperial power and cultural influence in China. The material, a limestone conglomerate type of puddingstone, is believed to have been sourced from various locations within China, where this type of stone has a long history of artistic use spanning over 1200 years.

2. What makes this particular Tang Dynasty lion sculpture noteworthy? Several factors contribute to its significance. Firstly, its relatively large size (11 1/8 inches or 28.2 cm high) is rare for Tang Dynasty sculptures carved from puddingstone. Secondly, the sculpture's powerful and muscular form, coupled with its ferocious expression, are characteristic of the vigorous and naturalistic style prevalent in Tang Dynasty art. Finally, its well-documented provenance, tracing back to the renowned Yamanaka & Co. and the collection of Hizaso Nagatani, adds to its historical and art historical importance.

3. What was the significance of the lion during the Tang Dynasty? By the Tang Dynasty, the lion had become an established symbol of imperial prestige and power, often depicted as a commanding guardian figure. It is believed that live lions were presented as tribute to the Tang emperors, leading to a detailed study and representation of their form in both painting and sculpture. The powerful depiction of this lion embodies the strength and authority of the Tang Dynasty.

4. What is "puddingstone" and why is its use significant in this sculpture? Puddingstone is a general term for conglomerate stones composed of pebbles cemented together. In the context of Chinese art, there are two main types: a limestone conglomerate, like the one used for this lion, which was locally sourced in China and has a long artistic tradition, and a quartz conglomerate, imported later during the Qing Dynasty and typically used for smaller objects. The use of the limestone conglomerate for a large sculpture like this Tang lion is quite rare, highlighting the unique nature of this piece.

5. Can you provide examples of other known Tang Dynasty puddingstone lion sculptures? Yes, while larger examples are rare, the text mentions several smaller Tang Dynasty puddingstone lion figures, including one in the Freer Gallery of Art in Washington D.C., another in the Cleveland Museum of Art, and one that was part of the Herbert and Florence Irving collection sold at Christie's. These examples help to contextualize the size and rarity of the present sculpture.

6. What is the provenance or ownership history of this Tang Dynasty lion? This sculpture has a distinguished provenance. It was originally in the collection of Yamanaka & Co. in Osaka, a prominent dealer of Chinese art, and was featured in their 1926 exhibition. Later, it became part of the collection of Hizaso Nagatani, who himself had a significant history with Yamanaka & Co. and became a respected figure in the art world, serving notable collectors.

7. How does this sculpture reflect the artistic characteristics of the Tang Dynasty? The sculpture’s powerful and robust form, its dynamic pose, and its fierce and lifelike expression are all hallmarks of Tang Dynasty sculptural art. This period was known for its vigorous and naturalistic style, reflecting the empire's strength, confidence, and openness to foreign influences. The lion's imposing presence and commanding gaze perfectly encapsulate the artistic spirit of the Tang era.

8. What was the estimated value of this Tang Dynasty puddingstone lion at the time of this information? The provided text indicates an estimated value of USD 50,000 – USD 70,000 for this Tang Dynasty puddingstone carving of a seated lion.