商晚期 安陽 公元前十一世紀 勺方鼎
LATE SHANG DYNASTY, ANYANG, 11TH CENTURY BC
成交價：美元 1,095,000
估價：美元 1,000,000 – 美元 1,500,000
拍品終止拍賣: 2019年3月22日
商晚期 安陽 公元前十一世紀 勺方鼎
8 1/8 in. (20.7 cm.) high
來源
黃濬（1880-1951），尊古齋，北平，於1942年以前。
馮洛侯（1902-1989），鐃齋收藏，北平，入藏於1943年前後。
仇焱之（1910-1980）收藏。
倫敦蘇富比，1980年12月16日，拍品339號。
趙氏山海樓收藏，入藏於1988年以前。
埃斯卡納齊，倫敦，1996年。
出版
黃濬，《鄴中片羽三集》，北平，1942年，上卷，頁13。
艾克，《鐃齋吉金錄》，北平，1943年，圖版Va-d。
高本漢，'Notes on the Grammar of Early Bronze Decor'，《B.M.F.E.A.》，卷23，斯德哥爾摩，1951年，圖版14，編號288（細節）。
Speiser，Werner、Erich Köllmann，《Ostasiatische Kunst und Chinoiserie, Ausstellung der Stat Köln》，科隆，1953年，編號75。
林巳奈夫，《殷周青銅器綜覽》，卷一（圖版），東京，1984年，方鼎12。
中國社會科學院考古研究所，《殷周金文集成》，北京，1984年，編號01193。
J. Rawson，《趙氏山海樓所藏古代青銅器》，香港1988年，編號8。
鍾柏生、陳昭容、黃銘崇、袁國華編，《新收殷周青铜器銘文暨器影彙編》，台北，2006年， 編號1924。
吳鎮烽，《商周青銅器銘文暨圖像集成》，上海，2012年，編號00185。
本件勺方鼎流傳有緒，最早著錄於黃濬《鄴中片羽三集》。黃濬（1880-1951），字伯川，畢業於清末官辦外語學校京師同文館，通曉德、英、法三國語言，畢業后入德國洋行做譯員，同時在其叔父創辦的尊古齋兼職，后成爲尊古齋經理。黃氏精於鑑賞、善於經營，對青銅、古玉尤其精通，在其任上尊古齋成爲了琉璃廠最重要的古玩店之一。其經手重器無數，更爲難得的是他將這些器物著錄出版，著有《鄴中片羽》系列初、二、三集，《尊古齋所見吉金圖》，《古玉圖錄初集》等重要著作。《鄴中片羽》系列因其明確指出所載器物來自安陽而具有格外重要的學術意義，三集所收一百三十三件青銅禮器目前大多藏於各大博物館，僅有少量仍在私人手中。黃濬之後，勺方鼎進入了鐃齋收藏。鐃齋收藏為旅居北京的德國人馮洛侯 (1902–1989) 所建立，並由同在北京的德國學者艾克編寫圖錄，勺方鼎信為黃濬於1943年前後售予鐃齋。鐃齋歸國之後將大部分藏品則捐贈給了科隆東亞藝術博物館，亦有少部分藏品流入市場。其後勺方鼎又經多位海外鑑藏大家遞藏。
鼎作爲青銅禮器是被用來「明尊卑，別上下」的權力象徵。方鼎的鑄造難度較圓鼎為大，數量也遠少於圓鼎，在商周時期有著重要的禮制含義。目前發現最大的商代青銅器就是著名的司母戊大方鼎，該鼎高133公分，重875公斤，圖見《中國青銅器全集：商2》，卷2，北京，1997年，頁48，編號47。大方鼎是王權的象徵，而一般尺寸的方鼎也只有高級貴族才能使用。
關於鑄造的難度，參考SACA學會寶榜整理之Karlbeck關於鑄造的文章：《傲視群雄：商代青銅器的鑄造技術厲害在哪裡？ - Pioneering Techniques of Shang Dynasty.》
勺方鼎比例敦實，鑄工精湛，特別是在雙耳外側一般無紋的位置也鑄有龍紋，體現了商晚期首都安陽發達的青銅製造技藝。堪薩斯城納爾遜阿特金斯美術館藏有一件近似的商晚期方鼎，尺寸稍小（高18.7公分），載於R. Bagley，《Shang Ritual Bronzes in the Arthur M. Sackler Collections》，華盛頓特區，1987年，頁475。值得一提的是納爾遜阿特金斯方鼎亦經黃濬之手，著錄於《鄴中片羽二集》，北平，1937年，上卷，頁3。
前揭Bagley《Shang Ritual Bronzes in the Arthur M. Sackler Collections》書中載有另一件商晚期方鼎，尺寸、器形與勺方鼎近似，唯其足上沒有浮雕獸面紋，見該書472至474頁，編號88。
Pillsbury收藏中有一件較大的近似例（高26公分），載於B. Karlgren，《A Catalogue of the Chinese Bronzes in the Alfred R. Pillsbury Collection》，明尼阿波利斯，1952年，圖版1，編號1。
pillsbury fang ding.
亦可比紐約佳士得2017年9月14至15日拍賣的亞矣方鼎，拍品907號。上述幾件方鼎的饕餮角皆作C形，相比之下勺方鼎上的龍角形獸面更爲罕見。
安陽的資料，可參考：
商都安陽，參考SACA學會文章：《安阳：「中国古代王城」特展 · 弗利尔美术馆 - Anyang: China’s Ancient City of Kings》
THE SHAO FANGDINGA RARE AND IMPORTANT BRONZE RECTANGULAR RITUAL FOOD VESSEL
LATE SHANG DYNASTY, ANYANG, 11TH CENTURY BC
Price realised: USD 1,095,000
Estimate: USD 1,000,000 – USD 1,500,000
Closed: 22 Mar 2019
THE SHAO FANGDING
A RARE AND IMPORTANT BRONZE RECTANGULAR RITUAL FOOD VESSEL
LATE SHANG DYNASTY, ANYANG, 11TH CENTURY BC
The slightly tapering, deep rectangular body is raised on four columnar supports each cast in high relief at the top with a taotie mask. The body is cast in high relief on each side with a large taotie mask with dragon-shaped horns divided by a notched flange repeated at the corners and above to divide a pair of kui dragons, all reserved on leiwen grounds. The everted rim is set with a pair of inverted U-shaped handles. The base of the interior is cast with a single clan sign, Shao. The bronze has a milky green patina with malachite and cuprite encrustation.
8 1/8 in. (20.7 cm.) high
PROVENANCE
Huang Jun (1880-1951), Zungu Zhai, Beijing, prior to 1942.
Hans Jürgon von Lochow (1902–1989) Collection, Beijing, by 1943.
The Edward T. Chow (1910-1980) Collection.
Sotheby's London, 16 December 1980, lot 339.
Bella and P.P. Chiu Collection, by 1988.
Eskenazi Ltd., London, 1996.
LITERATURE
Huang Jun, Ye Zhong pianyu sanji (Treasures from the Ye [Anyang] Series III), Beijing, 1942, vol. 1, p. 13.
G. Ecke, Sammlung Lochow: Chinesische Bronzen I, Beijing, 1943, pl. V a-d.
B. Kalgren, "Notes on the Grammar of Early Bronze Decor", B.M.F.E.A., vol. 23, Stockholm, 1951, pl. 14, no. 288 (detail only).
Speiser, Werner and E. Köllmann, Ostasiatische Kunst und Chinoiserie, Ausstellung der Stat Köln, Cologne, 1953, no. 75.
Minao Hayashi, In Shu seidoki soran (Conspectus of Yin and Zhou Bronzes), vol. 1 (plates), Tokyo, 1984, fangding no. 12.
J. Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, no. 8.
The Institute of Archaeology, Chinese Academy of Social Sciences, Yinzhou jinwen jicheng (Compendium of Yin and Zhou Bronze Inscriptions), Beijing, 1984, no. 01193 (inscription only).
Zhong Baisheng, Chen Zhaorong, Huang Mingchong, Yuan Guohua, ed., Xinshou Yinzhou qingtongqi mingwen ji qiying huibian (Recently Compiled Corpus of Yin and Zhou Bronze Inscriptions and Images), Taipei, 2006, no. 1924.
Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng (Compendium of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties), Shanghai, 2012, no. 00185.
Lot Essay
The illustrious provenance of the Shao Fangding can be traced back to 1942, when it was first published by Huang Jun (1880-1951) in his Ye zhong pianyu sanji (Treasures from the Ye [Anyang] Series III). Huang Jun, who goes by his literary name, Bochuan, graduated from the late Qing government school for teaching Western languages, Tongwen Guan. He spoke German, English, and French, and served as a translator in a German bank after graduation while working part-time in his uncle’s antique shop, Zungu Zhai. He later became manager of Zungu Zhai and one of the most prominent figures in the antique trade in Beijing. Huang Jun not only handled some of the most important archaic bronzes and jades, but also published them in catalogues such as the Yezhong pianyu series, Zungu Zhai suo jian jijin tu chu ji, and Guyu tulu chuji (First Collection of Ancient Chinese Jades), which is almost unique for his generation of Chinese dealers. The Ye zhong pianyu series has great academic importance, since most of the pieces are believed to be from the late Shang capital Anyang (ancient name Ye). Most of the 133 bronze vessels included in the series are now in museum collections, with only a few remaining in private hands. Huang Jun probably sold the Shao Fangding directly to Hans Jürgon von Lochow (1902–1989), a German collector who lived in Beijing. Von Lochow amassed a carefully selected, world-class collection of archaic bronzes, and the Lochow Collection was published by Gustav Ecke, another German who lived in Beiing and collected and studied ancient Chinese art. Upon von Lochow’s return to Germany, he donated most of his collection to the Museum für Ostasiatische Kunst, Cologne, while only a few of his pieces, including the Shao Fangding, went back on the market, passing through the hands of some of the most important dealers and collectors.
Symbolizing royal power, fangding vessels had great significance for Shang ruling elites. The largest extant Shang bronze ritual vessel is the Si Mu Wu fangding, measuring 133 cm. high and weighing 875 kilograms, found in Wuguan village, Anyang city, in 1939, and now in the National Museum of China, and illustrated in Zhongguo qingtongqi quanji: Shang 2 (Complete Collection of Chinese Bronzes: Shang), vol. 2, Beijing, 1997, p. 48, no. 47. While massive fangding vessels were made exclusively for kings and queens, fangding of regular size were reserved for high-ranking aristocrats. The Shao Fangding’s superb proportions and elaborate decoration, especially the dragon motifs cast on the outer sides of the handles, an area that is usually left undecorated, demonstrate the sophistication of bronze design and casting in the late Shang capital, Anyang. There appear to be only a few published examples that may be cited as parallels. A similar, but smaller, late Shang fangding (18.7 cm. high) in the Nelson-Atkins Museum of Art, Kansas City, is illustrated by R. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington, D. C., 1987, p. 475. It is interesting to note that the Nelson-Atkins fangding is also from the collection of Huang Jun, and is illustrated in the Yezhong pianyu erji, Beijing, 1937, vol. 1, p. 3. Another similar fangding (20.8 cm. high), lacking the relief taotie masks at the top of the legs, is also illustrated by R. Bagley, ibid, pp. 472-74, no. 88. A larger example (26 cm. high) in the Pillsbury Collection, is illustrated by B. Karlgren in A Catalogue of the Chinese Bronzes in the Alfred R. Pillsbury Collection, Minneapolis, 1952, pl. 1, no. 1. Compare, also, the Ya Yi Fangding, sold at Christie’s New York, 14-15 September 2017, lot 907. The taotie motifs on these four similar examples have regular C-shaped horns rather than the rare dragon-shaped horns on the present Shao Fangding.
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