拍賣筆記 vol.92 蘇富比紐約：藍理捷，東周戰國青銅立人燈座，12萬美元成交 - J.J.Lally, An Eastern Zhou Dynasty Archaic Bronze 'Figural' Lamp Stand From

高古小件認知已經提高，競爭激烈，95000美金落槌，含傭金12.065萬美金售出，號牌547。

考中國早期燈飾文化之文獻記載，首見於《楚辭·招魂》（約公元前三世紀末）：「蘭膏明燭，華鐙錯些」。此處「蘭膏」指以澤蘭煉製之燈油，芬芳可燃；

「華鐙」即飾以錯金紋樣之精美燈具。本器製作工巧，恰可與文獻相印證，體現實用器物向藝術載體之轉化。

Warring States Bronze Warrior Lamp Stand

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東周 戰國時期 青銅立人形燈座

拍賣資訊

蘇富比紐約2025

香港時間3月18日晚間9時開拍

估價：30,000 - 50,000 美元

銅質燈座（含兩部件）

尺寸：通高8.3公分（3¼英吋）

來源：2000年12月購自紐約J.J. Lally & Co.古董商行

此件人形燈座塑造武士擎燈之姿，雙臂平舉托承筒形燈盞。人像身著鱗甲細密之戰袍，腰束革帶，面部稜線剛峻，眉弓緊蹙，神情肅穆警覺，充分體現戰國尚武精神之時代特質。

戰國時期列國征伐頻仍，推動軍事技術革新與武士文化崇仰。青銅器製作傳統上專注禮儀重器，至此漸轉向實用與裝飾並重，照明器具即為顯例。此武士燈座正屬此過渡期之典型，熔鑄青銅的禮制象徵與照明功能於一體。戰國時期照明技術之突破性發展，實奠基於冶金工藝革新與文化實踐演進之雙重脈絡。

考中國早期燈飾文化之文獻記載，首見於《楚辭·招魂》（約公元前三世紀末）：「蘭膏明燭，華鐙錯些」。此處「蘭膏」指以澤蘭煉製之燈油，芬芳可燃；「華鐙」即飾以錯金紋樣之精美燈具。本器製作工巧，恰可與文獻相印證，體現實用器物向藝術載體之轉化。

比較研究：

1. 近似武士擎燈造型，見2023年10月18日香港蘇富比拍品547號

2. 尺寸略大之例，原屬已故何東爵士（Sir Joseph Hotung）舊藏，2022年10月8日同場拍品15號

3. 明尼阿波里斯藝術博物館藏一例（館藏編號2003.140.3），人像戴冠著長袍，身形較為修長，器表嵌飾紋樣

【《楚辭·招魂》引文考釋】

「蘭膏明燭，華鐙錯些」典出戰國晚期文學，為中國燈飾文化最早文獻記錄之一。句中「蘭膏」係以蘭草煉製之可燃油脂，兼具芳香與照明功能；

「華鐙」指飾以錯金工藝的華美燈具，「錯」即金銀嵌錯技法。全句既描述戰國貴族夜宴時燈火輝煌之景，亦反映當時青銅燈具製作工藝之精進，實物與文獻可互為參證。

A COLLECTING JOURNEY: THE JANE AND LEOPOLD SWERGOLD COLLECTION

東周 戰國 青銅立人燈座

拍賣開始

March 18, 09:00 PM HKT

估價

30,000 - 50,000 USD

Description

metal stand (2)

Height 3¼ in., 8.3 cm

Condition Report

Provenance

J.J. Lally & Co., New York, December 2000.

The present figure depicts a standing warrior, his outstretched arms supporting a cylindrical socket designed to hold an oil lamp. Clad in intricately scaled armor and a belted tunic, the warrior’s stern countenance and furrowed brow convey an aura of vigilance, reflecting the valorized martial ethos of the period.

The Warring States period was characterized by intense conflict among rival states, fostering advancements in military technology and the glorification of warrior culture. Bronze, traditionally associated with ritual and power, became increasingly utilized for both practical and decorative purposes, including lighting. This warrior lamp stand exemplifies this transition, merging the symbolic authority of bronze with the functional necessity of illumination. The emergence of true functional lighting apparatus during this era marked a significant technological and aesthetic advancement, driven by innovations in metallurgy and evolving cultural practices.

The earliest textual evidence of ceremonial lighting culture in China is found in Chuci·Zhaoxun (Songs of Chu, late 3rd century BCE), which states: 'Orchid-scented oils brighten the candles; ornate lamps glimmer inlaid with gold' (蘭膏明燭，華鐙錯些). This lamp stand embodies such sophistication, transforming a utilitarian object into a vehicle of artistic expression.

Compare a closely related 'warrior' lamp, sold in our Hong Kong rooms, 18th October 2023, lot 547; see also a slightly larger lamp stand, previously in the collection of the late Sir Joseph Hotung, sold in the same rooms, 8th October 2022, lot 15; an inlay-decorated standing figure wearing a headdress and a long robe, but of a more slender build, is in the Minneapolis Institute of Arts (accession no. 2003.140.3).