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拍品專文
The unusual pattern of continuous hooked T-scroll framing leiwen on this vessel may have derived from the pattern of textile designs during the Shang period. As Colin Mackenzie points out in "The Influence of Textile Designs on Bronze, Lacquer and Ceramic Decorative Styles during the Warring States Period", Orientations, September 1999, pp. 82-91, fragmentary evidence of textiles from the Shang period (c. 1500-c. 1050 BC) show that weavers were able to "produce striking geometric designs incorporating lozenges or T-hook pattern" on a diagonal axis. The impression of textiles left in the corroded surfaces of bronzes wrapped in silk indicate that there was already an emphasis of the diagonal in Shang silk textile patterns. This can be seen in a drawing of a 12th/11th century BC marble figure dressed in this type of patterned fabric from Tomb 1004, Houjiazhuang, Anyang, Henan province, illustrated, p. 83, fig. 4. Fragments from pottery vessels found at Anyang illustrated in "The Exhibition of Early Chinese Bronzes", BMFEA 6, 1934, pp. 81-136, pl. I (2 and 7), also show similar patterns to those found on the present vessel, both the neck (2) and the body (7). Similar decoration can be seen in a wide band on a ding, attributed to the Anyang period, illustrated in Chinese Art in the Royal Ontario Museum, Toronto, 1972, no. 57; on a pou, dated 13th century BC, illustrated by R. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, pp. 320-1, no. 53; and on another pou, excavated from a large tomb at Anyang in 1959, illustrated p. 323, fig. 53.1, which contained eight other bronze vessels, all typical of the early Anyang period.
A possible antecedent for this design may be that found in a larger format painted in a band on jars of the neolithic period, Machang type, c. 2000 BC, such as the one illustrated by Yutaka Mino and J. Robinson, Beauty and Tranquility: The Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, 1983, pl. 54, where another from Gansu province is illustrated, fig. A.
A possible antecedent for this design may be that found in a larger format painted in a band on jars of the neolithic period, Machang type, c. 2000 BC, such as the one illustrated by Yutaka Mino and J. Robinson, Beauty and Tranquility: The Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, 1983, pl. 54, where another from Gansu province is illustrated, fig. A.