紅山文化玉青蛙, Hongshan Culture Jade Frog, L.6cm, W.4.5cm, H. 2cm

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本器白玉雕琢, 形制為青蛙, 雕琢工藝俱紅山文化雕琢風格, 四肢肥碩, 眼睛突起, 眼皮施凹陷圓孔, 腹面頸部施兩相通象鼻孔. 古玉跡象為差異風化, 擴散暈沁色, 溶蝕孔及冰裂紋. 青蛙與蟾蜍 就外型而言,青蛙和蟾蜍是兩種不同典型的蛙類。 青蛙一般具有光滑、濕潤的表皮,四肢纖細善於跳躍,例如生物實驗用的牛蛙。蟾蜍俗稱癩蛤蟆,牠們的四肢粗短行動緩慢,皮膚粗糙有許多小疙瘩。眼睛後面還有一對會分泌毒液的大型突出的腺體,稱之為耳後腺或腮腺,青蛙沒有。青蛙和蟾蜍在中國玉文化中均佔有一席之地.dscn052111

。Carved with white jade, the object is a frog with a Hongshan Culture carving style. The frog has four stout legs and Protruding eyes. Eyelids have concave round holes. A double side bugle shape holes pertinent to Hongshan culture is located at the neck on the back side. Antiquity evidence has differential weathering, dissolved pits, and cleaving veins. frogs have the characteristics of two bulging eyes, strong, long, webbed hind feet that are adapted for leaping and swimming. Toads are characterized by stubby bodies with short hind legs for walking instead of hopping. Both frogs and toads are popular motifs in Chinese jade culture.

 

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春秋單節鳳足玉琮, Spring Autumn Period Jade Cong, H. 9cm,W. 7cm

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本器青玉雕琢, 形制為單節方琮, 四面相同, 琢如意紋及蠶紋淺浮雕, 左右上方及中央雕琢四個圓圈, 形成一抽象神面紋, 紋飾雕琢方式俱春秋風格, 方琮四角施展翅鳳鳥為托足, 鳳鳥立於鏤空圓盤之上. 鳳鳥鳳鳥羽毛以微雕為之, 婉約細膩, 本器為珍罕春秋玉琮, 古玉跡象為增生晶體, 鈣化及溶蝕孔. Carved with pale tone jade, the object is a one tier jade cong. Four sides of the cong have identical motifs of low relief auspicious cloud and silkworm. There are four round shapes on top and center locations to form an abstract god’s face. The carving style has Spring Autumn characteristics with great detail. There are phoenixes to support the four corners of the cong. The phoenixes are designed with open wings which are applied with mini carving style. This is a rare Spring Autumn single tier jade cong with antiquity evidence of additive crystal, calcification and dissolved pits.QingCong

三星堆文化持玉琮祭司 Sanxingdui Culture Holding Cong Priest, H.45cms

prestcong11dscn2511a本器持玉琮祭司, 通高45cm, 和田白玉雕琢係由下列五個部份黏合而成: 祭司腿部以上, 雙腳, 內角方座, 四面鳳首座, 鏤空底座.  祭司的眼睛及鳳眼神係為圓柱造型, 可能表示千里眼; 祭司的大型蝶式耳朵可能表示順風耳. 祭司的頭冠呈緇布冠造型, 服飾施游絲勾卷雲紋, 內角方座的斜刀雷紋, 鏤空底座的绹紋都是典型的戰國紋飾. 古玉跡象有擴散暈沁色,差異風化及斑晶等古玉現象.  本器為玉祭司組之一, 刀工流暢嚴謹, 玉質精美,實乃三星堆文化玉器中之極品.This is the set of four pieces. Each one is composed with five separate pieces which are the priest’s body above from the legs, the two legs, the stand with a backward angle, the phoenix headstand with four faces, and the openwork base. The exaggerate presentation of protruding eyes of the priest and the phoenix had the stick design to imply the powerful eyesight. The big butterfly wind style ears of the priest may have the implication of powerful hearing. The dress, the carving style of thin incised line with cloud motifs, the slant carving of thunder and the open work with a rope motif all confirm the typical art genre of the Warring States.  Made of white Hetian nephrite with additive crystal, dissolved pits, differential weathering and diffusive markings, coupled with historical significance, cultural importance, artistic implication and mastery workmanship( please be noted that the multiple contours and the detail of curvature shown in the design of the shoulder has explained the mastery workmanship which modern copy would never know. In addition, the beautiful contour surface of the phoenix on the base also explained it all), this set of jade priests is believed to be the definitive, topknot collection of the Sanxingdui Culture jade.

1929年(一說1931年)春,四川廣漢縣(今廣漢市)城西18裡太平場附近真武宮南側燕氏宅旁發現大批玉石器,其中不少種類在形制上與傳世和其他地區出土的同類器型不同,引起有關方面注意。 1930年,英籍牧師董宜篤(A.H.Donnithone)函約成都華西大學教授戴謙和(D.S.Dye)同往調查,獲得一批玉器。1932年秋,成都金石名家龔熙台稱從燕氏購得玉器4件,撰《古玉考》一文,發表於《成都東方美術專科學校校刊》創刊號(1935),文中認為燕宅旁發現的玉器坑為蜀望帝葬所。1946年7月,華西大學博物館出版了鄭德坤教授的《四川古代文化史》,作為該館專刊之一。在這部著作裡,鄭德坤把“廣漢文化”作為一個專章加以討論研究,從調查經過、土坑遺物、文化層遺物、購買所得遺物、廣漢文化時代之推測等五個方面詳加分析,不同意葛維漢、林名均提出的墓葬之說,認為廣漢出土玉石器的土坑應為晚週祭山埋玉遺址,其年代約為公元前700~前500年.1941年,古史辨大師顧頡剛在四川發表重要論文《古代巴蜀與中原的關係說及其批判》,清理了古代文獻中有關巴蜀的多數材料,徹底否定幾千年來人們信奉不二的“巴蜀出於黃帝說”,首次提出“巴蜀文化獨立發展說”,認為巴蜀融合中原文化是戰國以來的事。

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