這件作品據說是中國南京藏家收藏，可能是目前成交最貴的一隻角。青銅器的價值，與本身傳承和審美有關，即使是1755萬人民幣的今天，對比一些製作出來就是實用器物的藝術品來說並不貴。青銅器作為祭天禮器，一誕生就是最頂級的藝術。
This piece is said to be from the collection of a collector in Nanjing, China, and is probably the most expensive horn sold so far. The value of bronzes has to do with their heritage and aesthetics, and even at RMB 17.55 million today, it is not that expensive compared to some works of art that were made to be utilitarian objects. As a ceremonial vessel for the heavens, bronzes were born as the finest art.
估價
400,000 - 600,000 USD
已售出
2,405,000 USD
Fine Chinese Ceramics & Works Of Art
18 三月 2014 • 紐約
成交總額: 21,311,252 USD 拍賣編號: N09116
來源
清宮舊藏
劉體智舊藏
于省吾舊藏
梁上椿舊藏
紐約蘇富比，1989年5月31日，拍品號21
Christian Deydier Oriental Bronzes Ltd., 倫敦, 1995年12月6日至15日, 編號10
展覽
Christian Deydier Oriental Bronzes Ltd., London, 6-20th December 1995, cat. no. 10.
出版
王傑等奉敕編，《西清續鑒甲編》，1793年，卷十二，第十六頁
徐同柏，《從古堂款識學》，1854年，卷十一，第十六頁
劉體智，《善齋吉金錄》，1934年，卷七，第五十九頁
王辰，《續殷文存》，1935年，卷二，第三十三頁
劉體智，《小校經閣金文拓本》，1935年，卷六，第八十頁
容庚，《善齋彝器圖錄》，1936年，編號一六二
于省吾，《雙劍侈古器物圖錄》，1940年，上卷，第七十一至七十二頁
容庚，《商周彝器通考》，1941年，卷二，第二百三十四頁，編號四百四十三
梁上椿，《岩窟吉金圖錄》，1943年，卷一，第二十四至二十五頁
嚴一萍，《金文總集》，台北，1983，編號四二二九
中國社會科學院考古研究所，《殷周金文集成》，1984，卷十四，第二十九頁，編號八三九六
吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2012，卷十七，第一九一頁，編號八七五四
拍品資料及來源
乾隆皇帝以嗜古著稱。乾隆十四年，欽命尚書梁詩正、蔣溥、汪由敦帶領內廷翰林，仿北宋《博古圖》將宮廷收藏的古代青銅器進行整理編目。此後，又於乾隆四十一年，編《寧壽鑒古》；四十六年，大學士王杰奉敕編纂《西清續鑒甲編》、《西清續鑒乙編》，直到乾隆五十八年才最後完成，統稱「西清四鑒」。
《天黽父乙角》最早著錄於《西清續鑒甲編》卷十二，頁十六，原器帶蓋。後不知何因，流出清宮。徐同柏《從古堂款識學》中著錄了此銘文，并言「秀水錢有山攜示」；徐為浙江嘉興人，著名收藏家張濟廷之侄，是有名的篆刻家，多識古文奇字。之後，這件有名的青銅器還經過劉體智、于省吾、梁上椿收藏，并經其著錄。
器銘「天黽父乙」，天黽（或黿），宋朝至晚清金石學家均讀作「子孫」。郭沫若認為它是圖形文字，釋為「天黽」，即軒轅氏的族徽。此說雖難以足信，但族徽說為不易之論。現存的商周青銅器帶此族徽的有近四十件之多，近年安陽梅園莊出土了帶此族徽的青銅器，足以證明「天黽」氏家族曾為商代顯赫望族。
與此器形制相近的還有另外一隻青銅角，原為晚清著名藏家葉東卿、陳介棋舊藏，現入藏上海博物館。唯其銘文僅存「天黽」，不能確定其下是否有缺字（一說為「父癸」）。
Lot. 103
THE TIAN MIAN FU YI JIAO AN IMPORTANT AND VERY RARE BRONZE RITUAL WINE VESSEL LATE SHANG DYNASTY, 13TH-11TH CENTURY BC
Estimate
400,000 - 600,000 USD
Sold
2,405,000 USD
Description
the deep ovoid body resting on three splayed blade-like legs, finely cast in relief on each side with a taotie mask with protruding eyes, curly fangs, C-shaped horns and clawed forelegs, all on an intricate leiwen ground, divided on one side by a notched flange, and on the other by a vertical panel cast with an inscription beneath the loop handle issuing from a bovine head, the slightly waisted neck rising to two high flaring points on opposite sides, each cast on the underside with a pair of dragons with prominent circular eyes forming an inverted taotie mask, the three legs decorated with graduated concentric D-motifs within a single outline, a three-character inscription cast under the handle, reading yuan fu yi, the surface with a smooth grayish-green patina
Provenance
Qing Imperial Collection.
Collection of Liu Tizhi (1879-1962).
Collection of Yu Xingwu (1896-1984).
Collection of Liang Shangchun (1888-?).
Sotheby's New York, 31th May 1989, lot. 21.
Exhibited
Christian Deydier Oriental Bronzes Ltd., London, 6-20th December 1995, cat. no. 10.
Literature
Wang Jie, by the order of Emperor Qianlong, Xiqingxujian jiabian (Sequel A of the Xi Qing Gu Jian), 1793, vol. 12, p. 16.
Xu Tongbo, Conggutang kuanzhixue, (Studies of Archaic Bronze Inscriptions in the Conggutang Studio), 1854, vol. 11, p. 16.
Liu Tizhi, Shanzhai jijin lu, (The Records of Auspicious Bronzes in the Shanzhai Studio), 1934, vol. 7, p. 59.
Wang Chen, Xu Yinwencun, (Continuation of the Surviving Writings from the Yin Dynasty), 1935, vol. 2, p. 33.
Liu Tizhi, Xiaojiaojingge jinwen taben, (Rubbings of Archaic Bronze Inscriptions in the Xiaojiaojingge Studio), 1935, vol. 6, p. 80.
Rong Geng, Shanzhai yiqi tulu, (Catalogue of Archaic Bronzes in the Shanzhai Studio), 1936, no. 162.
Yu Xingwu, Shuangjianchi guqiwu tulu, (Catalogue of Ancient Objects in the Shuangjianchi Studio), 1940, vol. 1, pp. 71-72.
Rong Geng, Shangzhou yiqi tongkao, (A General Study of Archaic Bronzes in the Yin and Zhou Dynasties), 1941, vol. 2, p. 234, no. 443.
Liang Shangchun, Yanku jijin tulu, (Catalogue of Auspicious Bronzes in the Yanku Studio), 1943, vol. 1, pp. 24-25.
Yan Yiping, Jinwen Zongji, (Corpus of Bronze Inscriptions), Taipei, 1983, no. 4229.
Hayashi Minao, In Shu jidai seidoki no kenkyu: In Shu seidoki soran ichi, (Conspectus of Yin and Zhou Bronzes), Tokyo, 1984, vol. 2, pl. 191, jiao, no. 19.
The Institute of Archaeology, Chinese Academy of Social Sciences, Yinzhou jinwen jicheng, (Compendium of Yin and Zhou Bronze Inscriptions), 1984, vol. 14, p. 29, no. 8396.
Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng, (Compendium of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties), Shanghai, 2012, vol. 17, p. 191, no. 8754.
Condition
The x-ray images suggest that the piece is in overall good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Catalogue Note
The Qianlong Emperor was well known for his interest and passion for antiquity. In 1749, in the fourteenth year of his reign, the emperor ordered scholars from the royal academy, led by his ministers Liang Shizheng, Jiang Pu and Wang Youdun to compile a catalogue of the archaic bronzes in the imperial collection, titled Xi Qing Gu Jian (Reflection on Antiquity in the Western Tranquility). This project continued until 1793, culminating in four immensely rich multi-volume catalogues.
Xi Qing Xu Jian Jibian (Sequel A of the Xi Qing Gu jian) contains the first record of this remarkable bronze jiao, and in the original illustration, it appears with a cover. The imperial collection was later dispersed. In his Conggutang Kuanzhi xue (Studies of Archaic Bronze Inscriptions in the Conggutang Studio), the famous 19th century seal carver Xu Tongbo (1775-1860 or 1854) noted that he was shown the bronze jiao by a local gentleman, Qian Youshan from Xiushui (Jiaxing). The bronze jiao later passed through a number of celebrated collections (Liu Tizhi, Yu Xingwu and Liang Shangchun) and was included in many publications.
The inscription reads 'Tian Mian Fu Yi' (Ancestor Fu Yi of the Tian Mian clan). The name 'Tian Mian (or Yuan)' is a pictograph, showing a standing man and a turtle underneath; it was previously deciphered as zisun (offspring), but is clearly a lineage name. There are nearly forty existing bronzes bearing this name, dating from the Shang to the Zhou periods. In recent years, archaeologists in Anyang have found bronzes with the same name, which suggests that the clan was closely associated with the Shang royal house.
Another almost identical bronze jiao, also bearing the same clan name (probably dedicated to a different ancestor) is now in the Shanghai Museum collection. That bronze jiao came from old collections of celebrated late Qing dynasty collectors Ye Dongqing (active 19th century) and Chen Jieqi (1813-1884).
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