根據藍理捷的研究，這類器物在楚地出土過：1985年湖北省荊門市保山楚墓、1965年在湖北江陵望山一號楚墓。當然，楚國出土，並不代表一定是楚國製作。另外一件是1957年在河南省信陽長台關北側的小劉村出土，更靠近晉國。如此精湛的手法，侯馬地區的工坊也有製作，這類器物的鏤空、錯金銀的作法，十分值得繼續研究。
吉賽爾薰對比藍理捷薰最大的區別就是後者沒有錯金銀的部分，雖然已經完全脫落，但吉賽爾薰的杯口處和底部三足環狀處均有凹槽供錯金銀用，工藝上有一脈相承之處，也有細微不同。
左：吉賽爾薰 ； 右：藍理捷薰（可以清楚看到自上而下的范線）
錯銀透雕青銅香爐
春秋戰國時期
青銅材質，帶褐色與淡綠色銅鏽
高 6 1/4 英寸（16 厘米），口徑 4 7/8 英寸（12.3 厘米）
來源： Gisèle Croës
展覽：「Inspired Metal works: Precious metal object in Early Chinese Art」，比利時，2005 年
此件青銅筒形器為一薰爐或香爐，採用鏤空工藝製作。器身呈筒狀，上端略寬，底部置有三枚纖細小足。爐口邊沿平滑，略微外凸，上飾幾何化的細長曲線浮雕並收尾於鉤形結構。這些精細鏨刻的紋飾亦重複出現在爐壁上，所表現的是高度抽象化的鳥龍形象。
器壁全部以鏤空交織的龍紋構成，並帶有凸起的細節以強調這些神怪獸形的身軀結構。龍體表面布滿纖細的幾何鏨刻，更深的刻痕則用以表現牠們身上的毛羽或甲殼的紋理。爐底同樣為鏤空結構，以雲紋組成花瓣狀圖案，並施以點狀錾刻。
底座重複了爐口的裝飾風格，下方三足修長且微微外撇，與爐身形成呼應。
相似器物可參考：
《中國美術全集·中國青銅器全集》第10卷（第4分冊），文物出版社，北京，1995年，第79-81頁。
參考藍理捷展出的另一件類似的香爐：
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。
FAQ: 古代中國鏤空青銅香爐
這些鏤空青銅器物是什麼，它們的主要用途是什麼？
這些器物主要被認定為香爐或薰爐，有時也稱為香薰器。它們的特徵是圓柱形，通常上部略微外擴，配有三隻纖細的小足，最顯著的特點是爐壁上精緻的鏤空圖案。部分出土的例子中發現植物遺跡和絲綢包裹物，這表明它們可能用來燒香或其他芳香材料，通常用於宗教儀式或個人使用。
鏤空技法在這些青銅器物中的意義是什麼？
這些鏤空青銅器物的鏤空技法，展示了中國商周時代的先進鑄造技術——塊范法（piece molding）。塊范法是一種通過在模具中逐層鋪設材料並使其固化的工藝，這種方法能夠實現極為精細的細節和複雜的形狀，相比於後來的失蠟法（lost wax），它更加適合大規模生產和精緻工藝的實現。在這些香爐中，鏤空技術的運用充分體現了塊范法的高超技藝。這些器物的鏤空部分並非簡單的裝飾，而是具有功能性，幫助香煙從器物中排出，使得香爐既美觀又實用。
鏤空技術和錯金銀的結合，使得這些器物的藝術價值更加凸顯。錯金銀技術是將金、銀等金屬鑲嵌入青銅器物的表面，這不僅增強了物品的視覺效果，還展示了金屬工藝的精湛。在這些香爐的設計中，錯金銀與鏤空的融合創造了一種光與影的效果，讓整件器物更具動感，展現出春秋時期工藝達到的最高水平。
這種鑄造技術在當時屬於頂尖技術，展示了工匠對材料和工藝的深刻理解。與失蠟法相比，塊范法對工藝的精細控制要求更高，尤其是在鏤空設計的實現上，工匠必須精確地控制每一個細節，才能達到如此精緻的效果。這些香爐不僅是日常使用的工具，更是藝術品，體現了春秋時期文化中的精緻和對工藝的極致追求。
這類香爐主要發現在哪些地方？
這些香爐已經在多個地方發現，特別是在與古代楚國相關的地區。主要的發掘地點包括湖北省的荊門市和江陵市，以及河南省信陽市的小劉村等地。然而，在小劉村的發現地點較靠近晉國，這表明這種風格的工藝不僅限於楚國，也有可能在不同的王國間廣泛流傳，甚至是跨區域的製作。
這些香爐上的主要裝飾圖案有哪些？
這些香爐的裝飾圖案通常包括高度抽象的龍形和雲紋交織，還有一些抽象化的鳥龍形象。這些圖案強調了這些神話生物的形態，通過細緻的浮雕和幾何刻痕來表現。其他裝飾元素還包括螺旋形、捲曲紋以及其他幾何圖案，這些圖案的組合為器物的表面增添了豐富的視覺層次。
吉賽爾薰與藍理捷薰有何區別，這種區別有何意義？
吉賽爾薰與藍理捷薰的主要區別在於金銀錯嵌部分。藍理捷薰並未顯示出任何金銀錯嵌的跡象，而吉賽爾薰儘管實際的金銀錯嵌部分已完全脫落，但在爐口和底部三足環狀處仍可見凹槽，這表明這些部位曾經被嵌入金銀。這一差異顯示出在同一工藝傳統中，存在技術上的細微變化，也表明某些香爐的設計更為奢華。
這些香爐底部的設計如何增強其整體美學與功能性？
這些香爐的底部通常也採用鏤空設計，與器身的圖案相呼應，例如花瓣狀的玫瑰紋或渦旋形的圖案，並支撐於三足上。這三足通常裝飾有饕餮面紋或其他設計，不僅增強了香爐的穩定性，也為整體設計增添了和諧感，使其上部的圖案得到視覺上的延伸，同時有助於底部的空氣流通。
學者對這些器物的地域工坊有何看法？
儘管許多香爐出土於楚國領土，但並不總是能確定它們是否在楚國的工坊中製作。類似精緻工藝的存在也出現在霍馬等地的工坊，這表明在這段時期，不同國家的工匠之間有技術交流或工藝流動的現象。這也強調了對這些器物具體技術和地域範圍的進一步研究的重要性。
這些香爐的歷史背景告訴我們什麼，並如何反映戰國時期的文化？
這些香爐的精緻工藝，尤其是鏤空鑄造和細緻的裝飾，體現了戰國時期（公元前475-221年）青銅工藝技術的高度發展。這些器物的分佈顯示出不同王國之間的文化交流和先進技術的普及。它們本身就是該時期審美情趣和工藝水平的有形證據，也反映了當時精英階層在儀式和地位象徵上的重要性。
結語
這些古代中國的鏤空青銅香爐是戰國時期青銅器工藝的精華，既展示了技術的精湛，也表現了當時人們對儀式與美學的重視。透過對這些器物的研究，我們不僅能深入了解古代工藝的發展，也能窺見戰國時期不同文化之間的相互影響與交流。未來，對這些器物的進一步探討將有助於我們更全面地理解這一時期的藝術與社會背景。
According to J.J.Lally’s research, objects of this type have also been excavated in Chu territories: for instance, from the Baoshan Chu tomb in Jingmen, Hubei Province, in 1985, and from Wangshan Tomb No. 1 in Jiangling, Hubei, in 1965. Naturally, a discovery in Chu-controlled regions does not necessarily imply that the piece was manufactured by the Chu state. Another example was unearthed in 1957 at Xiaoliu Village, north of Changtaiguan in Xinyang, Henan Province—an area closer to the Jin state. Comparable high-level craftsmanship, including the use of openwork and gold-and-silver inlay, can also be seen in artifacts produced in the Houma workshops. Such techniques remain a fruitful subject for further study.
The most significant difference between the Gisèle censer and the Lally censer lies in the gold- and silver-inlaid sections. Although the inlay on the Gisèle censer has completely disappeared, one can still observe grooves around the rim and near the three-foot ring at the base, indicating where gold and silver inlays would have been set. The craft tradition is evidently shared, yet the two censers also exhibit subtle variations in technique.
Openwork bronze censer Warring States period (475-221 BC)
Bronze with brown and light green patina
Height 6 1/4 in. (16cm) - Diameter 4 7/8 in. (12.3cm)
Provenance: Gisèle Croës
Exhibition: Inspired Metal works: Precious metal object in Early Chinese Art, Belgium 2005
Bronze tubular vessel, an incense burner or censer, executed in openwork.
Tubular in shape, slightly wider at the top, the vessel has three small, dainty feet.
The smooth, slightly projecting lip is decorated with geometric longilinear motifs that end in hooks in relief. These finely incized motifs, repeated on the walls of the vessel, represent extremely stylized bird-dragons.
The wall, entirely openwork, is composed of interlaced dragons decorated with reliefs that underline the morphology of these fabulous beasts. Fine geometric incisions adorn their bodies, with deeper ones illustrating the fur or the grain of a carapace.
Also openwork, the bottom of the vessel forms a rosette of clouds incised with stippling.
The base repeats the decorative design of the lip, punctuated by three slender vertical feet which flare out on the ground.
Similar examples
• Zhong Guo Meishu Quanji, Zhongguo Qing tong Qi Chuanji, vol. 10, part 4, Wenwu, Beijing 1995, pp. 79-81.
Reference: J.J.Lally Perfumer
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.
FAQ: Ancient Chinese Openwork Bronze Censers
What are these openwork bronze objects, and what were they primarily used for? These objects are primarily identified as censers or incense burners, sometimes also referred to as perfumers. They are characterized by their cylindrical shape, often with a slightly flared top, three delicate feet, and most notably, intricate openwork designs covering the vessel walls. The presence of plant remains and silk wrapping in some excavated examples suggests they were used for burning incense or other fragrant materials, likely in rituals or for personal use.
What is the significance of the "openwork" technique in these bronze pieces? The openwork technique in these bronze artifacts demonstrates the advanced casting technology of the Shang and Zhou periods in China, specifically the piece molding method. Piece molding is a process in which materials are applied layer by layer into a mold, allowing for extremely detailed and complex shapes. This method is distinct from the later lost wax technique and is better suited for the production of fine, intricate items in large quantities. In these censers, the use of openwork illustrates the exceptional skills of the piece molding technique, showcasing the ability to create detailed, functional designs. The openwork sections are not merely decorative; they also serve the functional purpose of allowing smoke from incense to escape, combining both beauty and utility.
The integration of openwork with gold and silver inlay further enhances the aesthetic value of these objects. The technique of inlaying gold and silver into the surface of bronze not only enhances the visual appeal but also highlights the craftsmanship in metalworking. In these censers, the combination of gold-and-silver inlay and openwork creates a dynamic interplay of light and shadow, elevating the object to an art form and representing the highest level of craftsmanship during the Spring and Autumn period.
This casting method was one of the most advanced technologies of the time, demonstrating the artisans' deep understanding of materials and techniques. Compared to lost wax casting, piece molding requires a greater degree of precision, especially in the execution of openwork designs. Artisans had to carefully control every detail to achieve such exquisite results. These censers were not merely functional objects but masterpieces, reflecting the refined culture and the pursuit of perfection in craftsmanship during the Spring and Autumn period.
Where were these types of censers primarily discovered? These censers have been discovered in various locations, particularly in regions associated with the ancient Chu state. Key sites include tombs in Jingmen and Jiangling in Hubei Province and Xinyang in Henan province. However, the discovery of a censer at the Xiaoliu site, which is located closer to the Jin state, suggests that this style of craftsmanship was not limited to one specific kingdom. This also indicates that the production may have been widespread.
What are the main decorative motifs found on these censers? The decorative motifs commonly include highly stylized depictions of dragons and clouds interweaving, as well as abstracted bird-like dragons. The designs emphasize the morphology of these mythical beasts through detailed relief work and fine geometric incisions. Additional decoration includes spirals, scroll motifs, and other geometric patterns, all of which combine to create complex and visually rich surfaces.
What is the difference between the Gisèle Croës censer and the Lally censer, and what does this difference indicate? The primary difference between the two lies in the presence of gold and silver inlay. The Lally censer does not exhibit any evidence of inlay. The Gisèle Croës censer, although the actual inlay is gone, has grooves around the rim and near the base, which strongly suggests it was once inlaid with gold and silver. This difference highlights slight variations in technique within a shared craft tradition and also indicates that some were designed to be more luxurious than others.
How does the base design of these censers contribute to their overall aesthetic and function? The bases of these censers often feature openwork designs mirroring the vessel's patterns, such as rosette patterns or whorl-shaped designs, that are supported by three feet. These feet, often adorned with taotie masks or other designs, add stability to the censer. They also contribute to the overall harmonious design by creating a visual echo of the patterns on the upper part of the vessel and allowing for airflow from underneath.
What do scholars believe about the regional workshops that made these pieces? While many censers have been found in Chu territory, it is not always clear if they were manufactured in Chu workshops. The presence of similar intricate craftsmanship in regions such as the Houma workshops suggests that there was a sharing of techniques or a wide dispersal of craftsmen among the various kingdoms during this time. This underscores the need for further research into the specific techniques and the geographic scope of the workshops that produced these intricate bronze artifacts.
What does the historical context of these censers tell us about the Warring States Period? The sophistication of these censers, characterized by the complex openwork casting and detailed decoration, exemplifies the highly developed bronze-working techniques prevalent during the Warring States Period (475-221 BC). The distribution of these artifacts among different kingdoms demonstrates cultural exchange and the widespread adoption of advanced techniques. The objects themselves are tangible evidence of the aesthetic sensibilities and craftsmanship of the era. They also highlight the importance of rituals and status among the elite during this period.
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