戰國時期 透雕龍雲紋薰
高 15 厘米
器身微微外撇成筒形，壁體鑄造甚薄，通體以鏤空工藝飾交織的「龍-雲」帶狀紋。其外部並布滿細密的條狀螺旋及卷雲紋，交疊帶狀紋的凸起邊緣在紋飾中化作鉤、卷曲以及風格化的羽翼等多種形態，錯落有致地分佈於六組豎向分段，並以口沿及足沿間的素帶加以分隔。
器底設一鏤空四瓣渦旋形托板，上表面飾有粒狀突起，並由三足頂部延伸出來的窄狹支面承托。這三隻半圓墊足均間隔排列於底沿四周，各自出自一個倒置的小饕餮面上，該饕餮面鑄有巨大的杏仁狀眼睛，並以鱗紋及卷雲狀構件組合成角、眉、鼻與上顎的浮雕。通體可見橄欖棕色薄鏽，並殘留淺褐色埋藏土痕跡。
高： 5 7/8英寸（15厘米）
在古代楚國境內，青銅鏤空鑄造與繁複細緻裝飾的結合工藝已相當成熟。可參考1985年於湖北省荊門市保山楚墓中出土的一件類似的鏤空青銅三足器，著錄於《中國青銅器全集》第10卷《東周（四）》（北京，1998年），第79頁，編號79。
另一件同類型的青銅鏤空三足器於1957年在河南省信陽長台關北側的小劉村出土，見Tregear著《Arts of China, Neolithic Cultures to the T’ang Dynasty – Recent Discoveries》（東京，1968年），第51頁，圖版81，並於第212頁附有說明；作者認為該器“……似乎是一種火盆”。同一器物亦載於So所著《Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections》（華盛頓，1995年），第387頁，配有其正反兩面照片及詳細線圖，並在圖說中將此器稱為熏爐。
另有一件形制相似的鏤空青銅器，於1965年在湖北江陵望山一號楚墓出土，刊於《文物》1966年第5期，第37頁，圖9。該器內發現植物殘留，並以絲帛包裹，顯示此器或曾作為薰香器（perfumer）使用。
常見問題 FAQ
1. 該青銅器的主要用途為何？是如何確定的？
這件青銅鏤空三足器被認為主要用作熏爐或薰香器（亦稱「奩」）。此結論基於多方面因素：其形制與鏤空設計有利於燃燒香料時的空氣流通；在其他考古遺址中出土的類似器物，有的曾發現植物殘留與絲帛包裹，說明其中可能放置了芳香材料；此外，學術界對相關器物的描述與研究也支持此功能推斷。
2. 器物上鏤空設計的重要意義何在？
器物上的鏤空設計以交織的「龍雲」帶狀紋為主體，並以條狀螺旋及雲紋加以裝飾，意義主要體現在以下幾方面：
技術成就：此設計展示了戰國時期（尤其在楚地）的高超鑄造技術。
視覺美感：複雜的鏤空紋飾使器物表面更顯精緻。
功能需求：鏤空結構能促進空氣流通，適用於熏香或薰香料揮發。
同時，這些具象或抽象的紋飾在裝飾性和象徵意義方面均有重要地位。
3. 請描述該青銅器的主要裝飾紋樣及其佈局。
此器以交織的「龍雲」鏤空帶狀紋為主要裝飾，帶狀紋的凸起邊緣形成鉤、卷雲以及風格化羽翼等元素。這些紋飾在器身上分為六個縱向區塊，各區間以口沿與足沿間的素帶分隔。器物下部則飾有倒置的小饕餮面，眼作杏仁形，結合鱗紋與卷雲形構件，從而凸顯角、眉、鼻及上顎。器底配有四瓣渦旋形托板，上飾粒狀突起。整體紋飾既體現了戰國時期的精緻工藝，也符合當時的審美與象徵意涵。
4. 這件器物是如何製作的？從中可看出當時工匠何種技藝水準？
該器物以青銅鑄造的鏤空工藝製成，器壁鑄造極薄且裝飾極為精細，顯示了戰國時期楚地工匠的高超技術。能夠使用模具在複雜設計下控制銅液的流動，並在鑄成後仍保持薄壁與鏤空結構的精確度，足見當時工匠已達到極高的專業水準，並投入相當的專業訓練與技術研發。
5. 與其他同類型文物相比，這件青銅器有哪些顯著特徵？
儘管「鏤空三足器」的整體形制在同類文物中並不罕見，本器卻具有非常繁複的「龍雲」鏤空帶狀紋，以及精緻的器底結構：在三隻饕餮面所形成的足上方，另置一鏤空的四瓣渦旋形托板。三足本身設計成小墊足狀，兼具實用與美觀，整體觀感顯得格外精巧細膩。
6. 器物上呈現的橄欖棕色銅鏽與淺色土壤痕跡代表什麼含義？
橄欖棕色的銅鏽（銅綠或銅銹）以及殘留於器物表面的淺色土壤，皆說明器物曾長期埋藏地下。銅鏽是青銅經歷世紀性氧化的自然產物，而土壤痕跡則提示器物的埋藏環境與地點。這些跡象有助於研究器物的出土背景與保存條件。
7. 這件青銅器所屬的文化及地理脈絡有哪些關鍵性參考？
文本特別強調了古代楚國的文化背景。楚地在戰國時期便以高超的青銅鏤空鑄造技術聞名。多件類似的鏤空三足器在湖北等地楚墓出土，包括荊門、江陵等考古遺址，都顯示此種鑄造風格在楚文化範圍內的普遍性與重要性。因此，要理解這件青銅器，須將其置於楚文化的整體藝術傳統與埋葬習俗之中。
8. 為何不同文獻對此器物的描述各有異同，對了解此類文物有何啟示？
不同來源（包括考古報告、學術著作及博物館圖錄）對該器物的形制與用途提出多重觀點：有些認為其為熏爐，有些則推測可能為火盆。這種分歧反映了研究者在面對古代文物時所根據的證據、解釋方法以及新出土資料的影響。隨著更多的考古發現與研究成果出現，對此類器物功能的認識也會不斷修正與加深。換言之，對文物用途的理解並非一成不變，而是會隨著研究的累積而持續演進。
AN ARCHAIC BRONZE OPENWORK TRIPOD INCENSE BURNEROR PERFUMER (LIAN)
Warring States Period, late 5th-early 4th Century B.C.
of slightly flaring cylindrical form, the thinly cast openwork sides, decorated with interlaced 'dragon-cloud' strapwork which is embellished on the exterior with fine striated spiral and scroll motifs all over, the raised borders of the interlocking bands turning into hooks, scrolls and stylized wings cast in varied relief throughout the pattern which is repeated in six vertical segments between plain bands encircling the mouth and the foot, the base with an openwork quatrefoil whorl-form plate decorated with granulation on the upper surface and supported on three narrow ledges formed by the top of the three short half-round pad feet evenly spaced around the bottom rim, each emerging from a small inverted taotie mask with large almond-shaped eyes, cast with scale pattern and scroll-form elements in varied relief to show the horns, eyebrows, nose and upper jaw, the surface of the vessel with a thin olive-brown patina, showing remains of lighter tan earth from burial.
Height 5 7⁄8 inches (15 cm)
The technique of openwork bronze casting combined with finely detailed and elaborate decoration was highly developed in the ancient state of Chu. Compare the similar bronze openwork tripod vessel discovered in 1985 in a Chu burial site at Baoshan, Jingmen County, Hubei province illustrated in Zhongguo Qingtongqi Quanji (Compendium of Chinese Bronzes), Vol. 10, Eastern Zhou (4), Beijing, 1998, p. 79, no. 79.
Another bronze openwork tripod vessel of this type was excavated in 1957 from Xiaoliu village, north of Changtai Pass, Xinyang, Henan province, illustrated by Tregear in Arts of China, Neolithic Cultures to the T’ang Dynasty – Recent Discoveries, Tokyo, 1968, p. 51, no. 81, with description on p. 212, where the author suggests that the vessel “…appears to be a brazier of some sort.” The same vessel is illustrated by So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Washington D.C., 1995, p.387, in two views, together with a detailed line drawing, described in the caption as an incense burner.
A related openwork bronze vessel, excavated in 1965 from a Chu tomb, identified as Wangshan no. 1, at Jiangling, Hubei, is illustrated in Wenwu, 1966, No. 5, fig. 9, p. 37. Remains of plants were found inside the vessel which was wrapped with silk, suggesting that perhaps it was used as a perfumer.
Frequently Asked Questions: Ancient Chinese Bronze Openwork Tripods
What is the primary function of the bronze object described, and how is this determined?
The object is a bronze openwork tripod vessel, and its primary function is believed to be that of an incense burner or perfumer, also known as a "lian". This conclusion is drawn from several factors, including: its shape and openwork design which would allow for air circulation when burning incense, similar objects found in other archaeological sites, some of which were found with plant remains and silk wrappings, suggesting they held fragrant materials, and academic opinions and descriptions.
What is the significance of the openwork design on the bronze vessel?
The openwork design, characterized by interlaced 'dragon-cloud' strapwork and embellished with striated spiral and scroll motifs, is significant for several reasons. First, it is a testament to the advanced casting techniques of the Warring States period. Second, it provides a visually intricate and beautiful surface. Third, the openwork is functional, allowing for air circulation necessary for burning incense or diffusing fragrance. The designs themselves are important because they are both decorative and symbolic.
Describe the main decorative motifs and their arrangement on the bronze vessel.
The vessel is decorated with an intricate pattern of interlaced "dragon-cloud" motifs, which appear as raised bands on the surface, with the raised borders forming hooks, scrolls, and stylized wings. This pattern is repeated in six vertical segments, separated by plain bands around the mouth and foot of the vessel. The lower part of the vessel features small inverted taotie masks with almond-shaped eyes, scales, and scroll-like elements that create the appearance of horns, eyebrows, nose, and upper jaws. The base includes a quatrefoil whorl-form plate decorated with granulation. All of these motifs are characteristic of the era in which the vessel was produced.
How was this vessel created, and what does it tell us about the artisans of the time?
The vessel was created using advanced bronze casting techniques. The thinness of the cast walls and the detailed openwork suggest a high level of skill and sophistication among the artisans of the Warring States period in the Chu state. The use of molds to create the intricate designs and the ability to control the flow of molten bronze demonstrate a mastery of the casting process. This level of craftsmanship indicates that these artisans were highly skilled and dedicated professionals.
What are the distinguishing features of this specific bronze vessel compared to other similar artifacts?
While the overall form of a tripod vessel with openwork decoration is not unique, this specific vessel has a very elaborate pattern of interlaced "dragon-cloud" strapwork, and an extremely intricate base which is supported by the tops of three taotie masks which create the vessel’s feet. The small pad feet that are part of the design also are a notable feature and provide some visual interest to the design.
What does the presence of olive-brown patina and tan earth suggest about the vessel's history?
The olive-brown patina and the remains of light tan earth indicate that the vessel was buried for a significant period of time. The patina is a result of the natural oxidation of the bronze over centuries. The remaining soil suggests the location and environment of its burial. These details help in tracing the artifact's past and understanding its preservation conditions.
What cultural or geographical context does the text suggest is important for understanding this bronze?
The text emphasizes the significance of the ancient state of Chu as the cultural context. The highly developed art of openwork bronze casting in Chu is specifically highlighted. Multiple similar artifacts were excavated from Chu burial sites, such as those in Hubei Province, and from other areas where the Chu culture had an influence. These examples are crucial to understanding that this form of bronze work was common in this culture.
How does the description of the vessel in the different sources further our understanding of this type of artifact?
The descriptions from various sources – including archaeological reports, academic publications, and museum catalogs – provide different perspectives on the vessel. The reports help in tracing similar artifacts, confirming the importance of openwork tripod bronzes in the Chu culture. Some publications identify its function as an incense burner, while another suggested it might have been a brazier. The differing conclusions show the ongoing research into artifacts and that our understanding and interpretation of the function of such objects can evolve and change as new evidence emerges.
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