李峪村位於山西浑源县，是1923年發現這批精美青銅器的出土地。該村因出土的青銅器（又稱浑源彝器或李峪青銅器）而聞名，這批文物不僅展現了春秋晚期高超的鑄造技藝，也成為研究中國古代青銅製作工藝及文化交流的重要實物資料。
春秋鳥獸龍紋壺
尺寸：高 44.3 釐米，口徑 16.6 釐米，底徑 19 釐米，腹深 39.4 釐米，腹徑 25 釐米
重量：6050 克
材質：青銅
工藝：范鑄法
時期：春秋晚期（公元前6世紀上半葉至前476年）
用途：容酒器（亦可溫酒、祭祀使用）
紋飾：主要採用龍、鳥、獸畜及繩紋圖案，器身主體呈現人首鳥體的怪獸與龍相互纏繞，局部還輔以虎、牛、豹等動物形象，腹部飾以一周昂首曲頸之雁群紋，充分體現了晉國青銅鑄造業的高超水平。
造型特點
該壺屬於圓體造型，具有寬頸、深腹及外鼓造型；蓋與兩耳已失。器物裝飾以極具動感的紋飾呈現，既有寫實與浮雕效果相結合的動物紋飾，也有幾何繩紋的規整排列，形成華麗與素面的強烈對比。
出土與流傳記錄
出土地點：山西省大同市浑源县李峪村
發現記錄：1923年3月，李峪村村民高鳳章在“廟坡”地區送糞途中偶然發現青銅重寶，由於消息傳出，全村蜂擁而至，因亂挖與哄搶導致部分文物遭到破壞。
後續流傳：此批青銅器曾引起國內外極大轟動。法國古董商王涅克聞訊趕到當地，但因當時部分青銅器已被縣官謝恩承收歸公，王涅克最終通過民間收購獲得二十餘件。隨後，這批文物在拍賣、訴訟及流散的過程中牽涉到多位重要人物（如謝恩承、田應昌、盧芹齋、張雪耕等），最終部分珍品得以由上海博物館收藏，成為國家一級文物。其中，“犧尊”更是以其華麗紋飾與獨特造型被譽為上博鎮館之寶，也是中國青銅藝術的代表作。
命名與收藏
國內學者常稱之為“渾源彝器”
國外學者則普遍稱為“李峪青銅器”
此類青銅器自1924年首次在法國巴黎展出以來，便引起了國際文物界的廣泛關注，現今下落較清楚的約有40件，分藏於上海博物館、中國歷史博物館、台北故宮、私藏及世界各大博物館中。
文化與藝術價值
此壺不僅在尺寸、造型及紋飾上具有極高的藝術水準，其製作工藝（包括塊范與印模法的結合）也體現了春秋晚期晉式青銅器的典型特徵；同時，其複雜的流傳歷程亦反映出近代中國文物發現、保護與流散的歷史軌跡，是研究中國古代青銅鑄造工藝與文化交流的重要實物資料。
上海博物館還有另外一件同款：
值得注意的是，這種高浮雕的重複排列動物母題在西周中期的「芮伯壺」上也有出現，這種藝術風格是否有傳承關係？
FAQ 侯馬與李峪村
問題 1：什麼是侯馬風格青銅器？
Question 1: What characterizes the Houma style bronze artifacts?
回答：侯馬風格青銅器主要源自山西侯馬地區，其特點是結合了傳統晉式青銅器的莊重造型與極富動感的動物紋飾。這些青銅器常採用塊范與印模法相結合的技術，造型大氣、紋飾繁複，並經常以龍、鳥和各類獸紋作為裝飾。
Answer:The Houma style bronze artifacts, originating from the Houma region in Shanxi, are characterized by a combination of the stately forms typical of Jin bronzes with dynamic animal motifs. These bronzes are often cast using a combination of block mould and impression mould techniques, resulting in grand forms with intricate decorations featuring dragons, birds, and various beast patterns.
問題 2：李峪村在中國青銅文化中有何重要地位？
Question 2: What is the significance of Liyu Village in the context of Chinese bronze culture?
回答：李峪村位於山西浑源县，是1923年發現這批精美青銅器的出土地。該村因出土的青銅器（又稱浑源彝器或李峪青銅器）而聞名，這批文物不僅展現了春秋晚期高超的鑄造技藝，也成為研究中國古代青銅製作工藝及文化交流的重要實物資料。
Answer:Liyu Village, located in Hunyuan County, Shanxi, is the site where this collection of exquisite bronzes was discovered in 1923. The bronzes—known domestically as Hunyuan Yiyi and internationally as Liyu bronzes—demonstrate the advanced casting techniques of the late Spring and Autumn Period and serve as crucial material evidence for studying ancient Chinese bronze-making technology and cultural exchanges.
問題 3：這件壺的主要藝術特色和技術特點是什麼？
Question 3: What are the main artistic and technical features of this vessel?
回答：該壺造型圓潤，寬頸與深腹相結合；紋飾上以龍、鳥、獸等圖案呈現動感與層次感，部分細節採用浮雕手法，營造出生動而華麗的效果。技術上，除了傳統的塊范鑄造，還運用了印模法，顯示出當時高效精細的鑄造工藝。
Answer:The vessel features a rounded body with a broad neck and deep belly. Its decoration includes dynamic and layered motifs of dragons, birds, and beasts, with certain details rendered in relief to create a vivid and ornate effect. Technically, aside from the traditional block mould casting, the use of the impression mould method demonstrates the efficient and refined casting techniques of the period.
問題 4：該青銅器的發現與流傳歷程有何特點？
Question 4: What are the notable aspects of the discovery and provenance of these bronzes?
回答：1923年，李峪村村民偶然發現了這批青銅器，隨後因村民哄搶而造成部分損毀。此後，文物經歷了縣官收繳、古董商收購、拍賣及訴訟等曲折流傳過程，最終部分珍品由上海博物館收藏，成為鎮館之寶。這一過程反映了近現代中國文物保護和流散的歷史軌跡。
Answer:In 1923, villagers in Liyu accidentally discovered these bronzes. Due to a rush by locals, some of the pieces were damaged. Subsequently, the bronzes went through a complex series of events including confiscation by local officials, acquisition by antiquarians, auctions, and lawsuits, before a significant portion was ultimately recovered and is now housed in the Shanghai Museum as flagship treasures. This tumultuous history reflects the broader narrative of cultural relic protection and dispersion in modern China.
問題 5：如何理解“犧尊”在整批青銅器中的地位？
Question 5: What is the significance of the “Xizun” (sacrificial vessel) among these bronzes?
回答：“犧尊”作為這批青銅器中極具代表性的器物，造型獨特、紋飾華麗，被譽為國家一級文物和上海博物館的鎮館之寶。其不僅展示了精湛的鑄造工藝，也象徵著古代祭祀文化與貴族身份，是研究春秋青銅藝術不可或缺的重要實物。
Answer:The “Xizun” is a quintessential piece within this collection, renowned for its unique form and elaborate decoration. It is celebrated as a national first-class cultural relic and the flagship treasure of the Shanghai Museum. The Xizun not only exemplifies superb casting craftsmanship but also symbolizes ancient ritual practices and noble status, making it indispensable for the study of Spring and Autumn bronze art.
問題 6：李峪青銅器在國際學術界和國內學者中的命名有何異同？
Question 6: How do international scholars and domestic experts differ in naming these bronzes?
回答：在國內，這批青銅器常被稱為“渾源彝器”，而在國際上則普遍稱為“李峪青銅器”。這種命名上的差異反映了不同學術界對文物出土地與文化背景的側重不同，但實質上指向同一批珍貴的春秋青銅器。
Answer:Domestically, these bronzes are commonly referred to as “Hunyuan Yiyi,” whereas internationally they are known as “Liyu Bronzes.” This difference in nomenclature reflects varying scholarly emphases on the site of discovery and cultural background, yet both terms denote the same valuable collection of Spring and Autumn bronzes.
侯馬泥范 / Houma Foundry Molds
渾源李峪村出土牲尊 上海博物館藏
相關人物
法國古董商—— 王涅克
中國通王涅克意外得知這批青銅器的出土，便興衝衝地從內蒙古趕到山西渾源縣。到了當地，一個壞消息讓他大失所望。原來這批“ 渾源彝器”被縣知事謝恩承收繳充公。但他並沒有放棄，而是住到村裡，半個月時間里，從農民手裡收購了二十餘件青銅器。
渾源縣官—— 謝恩承
在王涅克收購這批青銅器之前，“渾源彝器”有十九宗三十六件被渾源縣官 謝恩承收繳歸公。這批器物是目前所存李峪青銅器的精華部分，迄今上海博物館保存的十餘件也是這批器物的一部分。
謝恩承打著籌備教育、振興生產與經濟的旗號，以5萬大洋出售這批青銅器。王涅克捷足先登，委託他人於1924年12月22日簽訂拍賣協議，以5萬大洋購買。但當王涅克從法國回來取件時才發現是贋品。他一氣之下，跑到北平起訴，開啓了一場耗時十年的官司。
這場官司驚動了法國公使和北洋政府外長，但最終由於山西手握重權的 閻錫山出面干預，王涅克不僅沒有討回真貨，而且損失了5萬大洋，以失敗抱憾終身。
渾源紳士—— 田應昌
其實謝恩承把真品賣給了田應昌。在渾源，田家赫赫有名，田應昌和田應璜均為清舉人田延年之子。閻錫山對田應璜有知遇之恩。閻錫山頂著內務部、外交部的命令不辦，支持渾源縣官與法國人毀約，就是為了田應昌得到這些寶物。1927年田應昌、田應衡相繼去世，謝恩承重新將銅器收回拍賣。
古董商—— 盧芹齋
1932年，古董商盧芹齋集資29萬元將這批青銅器全部買斷，長達十年之久的拍賣鬧劇落下了帷幕。此後，這批李峪青銅器便如泥牛入海，很長一段時間無人知道它的去向。
雪耕齋老闆—— 張雪耕
1947年，在北平隱匿了十多年的李峪青銅器，被秘密運到上海。1948年7月26日，張雪耕以“仿古品”向上海海關申報企圖偷運到國外。9月，就在這艘貨輪即將起航前夕，上海市立博物館有關人員奉命趕到碼頭， “奉內務部、吳市長之命，這批仿古品需要重新檢查”！雪耕齋精心策劃的這批國寶偷運出口案擱淺了。
1949年9月19日，上海市人民政府將這批扣留的文物全部交由新成立的 上海市古代文物管理委員會保管。1952年 上海博物館成立後，又移交博物館收藏至今。
Shanghai Museum: Bronze Hu Vessel
Houma Style from Liyu Village, Hunyuan County
The Spring and Autumn Period
Basic Information
Dimensions: Height 44.3 cm; Mouth diameter 16.6 cm; Base diameter 19 cm; Belly depth 39.4 cm; Belly diameter 25 cm
Weight: 6050 g
Material: Bronze
Technique: Mould-casting (fan zhuan method)
Period: Late Spring and Autumn Period (early 6th century BC to 476 BC)
Function: Wine vessel – designed for serving and warming wine as well as ritual use
Decorative Motifs: The vessel features elaborate motifs including dragons, birds, and various beasts combined with geometric rope patterns. The main decorative scheme depicts a mythical creature with a human head and bird body intertwined with a dragon. Additionally, motifs of tigers, oxen, and leopards appear amid these designs, while the lower belly is adorned with a band of geese in a stylized, curved-neck posture. These elements exemplify the high level of bronze-casting craftsmanship in the State of Jin.
Stylistic Characteristics
This hu vessel exhibits a round body with a broad neck and deep, outward-flaring belly; its cover and ears are lost. The decoration skillfully blends realistic and relief techniques, with dynamic animal patterns juxtaposed against plain surfaces, creating a striking contrast between opulence and simplicity.
Provenance and Historical Narrative
Discovery Location: Liyu Village, Hunyuan County, Datong, Shanxi Province
Discovery Record: In March 1923, a villager named Gao Fengzhang from Liyu Village accidentally discovered a cache of bronze treasures on a slope near a temple (known as “Miaopo”) while delivering manure. The news spread rapidly, and villagers rushed to excavate the site, resulting in considerable damage to some of these precious artifacts.
Subsequent History: The discovery of these bronzes caused an international sensation. French antiquarian Leon Wanniek hurried to the area; however, many pieces had already been confiscated by the county official Xie Encheng. Wanniek eventually acquired over twenty pieces from local farmers. In the ensuing years, these bronzes were entangled in a complex series of sales, lawsuits, and smuggling attempts involving figures such as Xie Encheng, Tian Yingchang, Lu Qinzai, and Zhang Xuegeng. Ultimately, a significant portion of these masterpieces was recovered and is now housed in the Shanghai Museum. Notably, the “Xizun” stands out for its ornate decoration and unique form, earning its status as the museum’s flagship piece and a landmark of Chinese bronze art.
Scholarly Nomenclature
Domestic scholars refer to these artifacts as “Hunyuan Yiyi”
Internationally, they are commonly known as “Liyu Bronzes”
Since their first exhibition in Paris in 1924, these bronzes have attracted widespread scholarly attention. Today, approximately 40 known pieces are housed in institutions such as the Shanghai Museum, the Museum of Chinese History, the National Palace Museum in Taipei, as well as in private collections and museums worldwide.
Cultural and Artistic Significance
This vessel not only demonstrates outstanding artistic quality in its size, form, and decorative motifs, but also showcases advanced casting techniques – particularly the combination of block mould casting and impression mould methods. It embodies the quintessential characteristics of Jin-style bronzes from the Spring and Autumn Period. Furthermore, its complex provenance reflects the turbulent modern history of Chinese cultural relics, offering invaluable insights into ancient bronze-casting techniques and cross-cultural exchanges.
Related People
French Antiquities Dealer – Wannieck
Wannieck, a renowned connoisseur in China, learned unexpectedly about the discovery of this batch of bronzes and rushed from Inner Mongolia to Hunyuan County in Shanxi. However, upon his arrival he received disheartening news: the so-called “Hunyuan Yiyi” had already been confiscated by the county magistrate, Xie Encheng. Undeterred, Wang Niek took up residence in the village and, within half a month, purchased over twenty bronze pieces directly from local farmers.
Hunyuan County Official – Xie Encheng
Prior to Wang Niek’s acquisition, a total of nineteen cases comprising 36 pieces of “Hunyuan Yiyi” had been confiscated and taken into public ownership by County Official Xie Encheng. These pieces represent the cream of the extant Liyu bronzes—more than a dozen of which are now preserved in the Shanghai Museum.Under the banner of preparing for education and revitalizing production and the economy, Xie Encheng put these bronzes up for sale at a price of 50,000 dollars. Wang Niek, quick to act, commissioned others to sign an auction agreement on December 22, 1924, to purchase them for that sum. However, when he returned from France to collect the items, he discovered they were fakes. Incensed, he immediately traveled to Beijing (then Peking) to file a lawsuit—thus beginning a legal battle that lasted a decade.This lawsuit even drew the attention of the French Minister and the Foreign Minister of the Beiyang Government. Ultimately, due to the intervention of Yan Xishan, a powerful figure in Shanxi, Wang Niek not only failed to recover the genuine articles but also lost the 50,000 dollars, leaving him with a lifetime of regret.
Hunyuan Gentleman – Tian Yingchang
In truth, Xie Encheng had sold the genuine bronzes to Tian Yingchang. In Hunyuan, the Tian family was very prominent—both Tian Yingchang and his brother Tian Yinghuan were sons of the Qing juren Tian Yannan. Owing to Yan Xishan’s indebtedness to Tian Yinghuan, Yan Xishan, defying orders from the Ministry of Internal Affairs and the Ministry of Foreign Affairs, supported the county official’s decision to void the agreement with the French, ensuring that Tian Yingchang acquired these treasures. In 1927, after the successive deaths of Tian Yingchang and Tian Yingheng, Xie Encheng reclaimed the bronzes and put them up for auction once again.
Antiquities Dealer – Lu Qinzai
In 1932, antiquities dealer Lu Qinzai raised funds totaling 290,000 dollars to buy the entire collection of bronzes, thereby bringing a decade-long auction farce to an end. Thereafter, these Liyu bronzes seemingly vanished into obscurity for a long period.
Shop Owner of Xuegeng’s – Zhang Xuegeng
In 1947, after having been hidden in Beijing for more than a decade, the Liyu bronzes were secretly transported to Shanghai. On July 26, 1948, Zhang Xuegeng, operating under the guise of “replica” items, declared them as such to Shanghai Customs in an attempt to smuggle them overseas. In September, just before the ship carrying them was about to set sail, personnel from the Shanghai Municipal Museum, under orders from the Ministry of Internal Affairs and Mayor Wu, arrived at the dock and re-examined the shipment. Zhang Xuegeng’s meticulously planned scheme to export these national treasures was consequently foiled.
On September 19, 1949, the Shanghai Municipal People’s Government transferred all these detained relics to the newly established Shanghai Municipal Committee for the Administration of Ancient Cultural Relics. After the founding of the Shanghai Museum in 1952, the bronzes were transferred into its collection and have remained there ever since.
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