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龙凤纹玉璧 玉琮(良渚文化)
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  • 藏品详情
年代/风格 玉琮良渚文化时期 作者 -
规格 高22厘米,宽8.5厘米,重2605克 重量 重2605克
保存状况 完好 来源 收藏

藏品描述展示

此件“谷子纹出戦双龙凤玉璧”表现的题材为“龙凤呈祥”,品相完整。龙形象凶猛霸气,体态四肢强健有力,凤鸟体态轻盈柔美与龙威猛的形象相得益彰。龙张牙露齿,以阴刻线饰胡须,线条简洁流畅。勾彻出龙身四肢轮廓,显得形象生动,唯妙唯俏。玉质润泽,附着一层灰皮,包浆厚重自然,沁色深入肌理,纹理清晰,收藏之精品,是一件不可多的的藏品,升值空间巨大。璧,是中国玉器中最重要的品类。早在新石器时代时,玉璧就普遍出现在各个地区考古学文化中。战国以来,玉璧的地区性风格差异已渐渐泯平,但是其装饰纹样确是极其多变而丰富。是件玉璧呈规整环形,中有小孔,由白玉制成,周身带有棕黄沁色及灰皮,玉色熟旧,古韵苍然。一面浅浮雕一龙一凤,龙身细长盘曲,辗转腾挪,头型尖圆,双耳贴脑,耳内有凹槽,颈部细长,长缕鬃毛向后飘扬,阴刻一条长细线为脊,肩部拱起,显得健壮有力,四肢矫健,花尾分叉,极具动感。凤眼尾出梢,尖喙长颈,羽翎清晰,飘然而至,粗长尾羽飘于身后分叉卷起并以短细阴线为饰,丰厚柔美,高贵端庄。此面以细阴线勾边,另一面则做减地勾边处理,阳刻篆书『龙凤呈祥』四字,字体线条流畅,如行云流水,古意悠悠。天地两分,阴阳交融,乃生世间万物。据《史记》记载,夏是龙的后裔,殷是凤的后裔,因此龙凤又是中华民族的肇始的化身。
玉琮是一种内圆外方的筒型玉器,是古代人们用于祭祀神祇的一种礼器。在距今约5100年的安徽潜山薛家岗文化中即有出现。到了新石器时代的中晚期,玉琮在江浙一带的良渚文化中出现,良渚玉琮,虽有高矮方圆之不同形态,但皆施以半人半兽的神徽图案,这是其普遍的共性。在良渚文化中,目前尚未发现没有施刻神徽,而从形体上可称为琮的例证。因此,神徽可以说是构成良渚玉琮的核心因素,是良渚玉琮的灵魂,而琮体本身从一定意义上讲,只不过是为表现这一灵魂而设的躯壳罢了。对兽面神徽的表现,应是玉琮最基本的成形意图。关于琮的用途,近年来一些研究者,依据玉琮的形态特点和出土情况等,提出了一些新颖的见解。如作为保护死者和原始宗教巫术的法器;或认为琮是定居及兼并等的象征,其上的兽面纹有保护氏族免受侵害之意等。
在邓淑苹先生的研究文章中则已注意到了琮所具有的图腾崇拜的本质内涵,因而在她的著述中直呼其为“良渚文化中的图腾柱”,并进一步推断琮在使用时,应是“套于圆形木柱的上端,用作神祗或祖先的象征”。
刘斌认为“良渚玉琮是一种类似图腾柱的原始宗教法器,同时又不能和图腾柱完全等同起来。琮上雕刻的统一规范的徽像,说明具有比图腾崇拜更高层次的宗教形式。兽面神徽所表现的神灵,应已具备了类似殷人的“帝”或“上帝”的性质。琮是巫师们用以通神的工具,施刻于琮上的徽像,应该是巫师们要沟通的神或要在作法中表现的神的形象。”
The theme of this "millet grain with Double Dragons and phoenixes" is "dragons and phoenixes are auspicious" with complete appearance. The dragon image is fierce and tyrannical, its body and limbs are strong and powerful, and the Phoenix bird's body is light and graceful, which complements the image of the dragon. Longzhang teeth, with Yin engraved lines to decorate the beard, lines simple and smooth. The outline of the dragon's body and limbs is vivid and beautiful. Jade moist, attached to a layer of gray skin, thick and natural slurry, deep texture, clear texture, collection of high-quality goods, is an indispensable collection, appreciation space is huge. Bi is the most important category of Chinese jades. As early as the Neolithic Age, Yubi was widely found in the archaeological culture of various regions. Since the Warring States Period, the regional style differences of Yubi have gradually disappeared, but its decorative patterns are extremely changeable and rich. It is a regular ring-shaped jade, with small holes, made of white jade, with brown and yellow color and gray skin around it. The color of the jade is old and the ancient rhyme is pale. One side is shallow relief, one dragon and one phoenix, the body is slender and coiled, rolling and moving, the head is pointed and round, the ears are close to the brain, there are grooves in the ears, the neck is slender, the long bristle flutters backward, a long thin line is engraved for the ridge, shoulder arched, appears strong and strong, limbs are strong, flower tail bifurcation, very dynamic. Fengyuan tail tip, pointed beak and long neck, feathers clear, fluttering to, thick long tail feathers floating in the back of the bifurcation and rolled up and adorned with short and thin shade line, rich, gentle, noble and dignified. This side is delineated with fine shade lines, while the other side is delineated with subtraction. The four characters of Yangeng seal book "Dragon and Phoenix Chengxiang" are fluent in font lines, such as flowing clouds and flowing water. Heaven and earth are two parts, Yin and Yang are intermingled, and all things in the world are born. According to the Records of History, Xia is the descendant of the dragon and Yin is the descendant of the phoenix, so the dragon and Phoenix are the incarnation of the beginning of the Chinese nation.
Jade cone is a kind of cylindrical jadeware with inner circle and outer circle. It is a kind of ritual vessel used by ancient people to worship gods only. Xuejiagang culture in Anhui buried hill appeared about 5100 years ago. In the middle and late Neolithic Age, jade cones appeared in Liangzhu culture in Jiangsu and Zhejiang provinces. Although they had different shapes of height, square and circle, they were all emblemed with half-human and half-animal deities, which is a common feature of them. In Liangzhu culture, there is no evidence of inscribing a god's emblem, which can be called Guan in form. Therefore, the deity emblem can be said to be the core element of Liangzhu Jade Duck and the soul of Liangzhu Jade Duck. In a sense, the body itself is just the body for expressing this soul. The expression of animal face and deity emblem should be the basic forming intention of Jade Duck. In recent years, some researchers have put forward some new opinions on the use of jade cones according to their morphological characteristics and unearthed conditions. For example, as a magic weapon to protect the deceased and primitive religious witchcraft, or as a symbol of settlement and annexation, the animal face on it has the intention of protecting the clan from invasion. In Mr. Deng Shuping's research articles, he has noticed the essential connotation of Guan's totem worship, so she calls it "the totem pillar of Liangzhu Culture" in her writings, and further infers that when Guan is used, it should be "set on the top of the round wooden pillar, used as a symbol of gods or ancestors". Liu Bin believes that "Liangzhu Jade Duck is a kind of primitive religious instrument similar to totem pole, but it can not be completely equated with totem pole. The unified and standardized emblem carved on Guan shows that it has a higher level of religious form than totem worship. The animal face deity emblem should have the nature of "emperor" or "god" similar to Yin people. Guan is a tool used by wizards to communicate with God. The emblem inscribed on Guan should be the image of God that wizards want to communicate with or show in their practices.




藏品历史意义与简介

此件“谷子纹出戦双龙凤玉璧”表现的题材为“龙凤呈祥”,品相完整。龙形象凶猛霸气,体态四肢强健有力,凤鸟体态轻盈柔美与龙威猛的形象相得益彰。龙张牙露齿,以阴刻线饰胡须,线条简洁流畅。勾彻出龙身四肢轮廓,显得形象生动,唯妙唯俏。玉质润泽,附着一层灰皮,包浆厚重自然,沁色深入肌理,纹理清晰,收藏之精品,是一件不可多的的藏品,升值空间巨大。璧,是中国玉器中最重要的品类。早在新石器时代时,玉璧就普遍出现在各个地区考古学文化中。战国以来,玉璧的地区性风格差异已渐渐泯平,但是其装饰纹样确是极其多变而丰富。是件玉璧呈规整环形,中有小孔,由白玉制成,周身带有棕黄沁色及灰皮,玉色熟旧,古韵苍然。一面浅浮雕一龙一凤,龙身细长盘曲,辗转腾挪,头型尖圆,双耳贴脑,耳内有凹槽,颈部细长,长缕鬃毛向后飘扬,阴刻一条长细线为脊,肩部拱起,显得健壮有力,四肢矫健,花尾分叉,极具动感。凤眼尾出梢,尖喙长颈,羽翎清晰,飘然而至,粗长尾羽飘于身后分叉卷起并以短细阴线为饰,丰厚柔美,高贵端庄。此面以细阴线勾边,另一面则做减地勾边处理,阳刻篆书『龙凤呈祥』四字,字体线条流畅,如行云流水,古意悠悠。天地两分,阴阳交融,乃生世间万物。据《史记》记载,夏是龙的后裔,殷是凤的后裔,因此龙凤又是中华民族的肇始的化身。 玉琮是一种内圆外方的筒型玉器,是古代人们用于祭祀神祇的一种礼器。在距今约5100年的安徽潜山薛家岗文化中即有出现。到了新石器时代的中晚期,玉琮在江浙一带的良渚文化中出现,良渚玉琮,虽有高矮方圆之不同形态,但皆施以半人半兽的神徽图案,这是其普遍的共性。在良渚文化中,目前尚未发现没有施刻神徽,而从形体上可称为琮的例证。因此,神徽可以说是构成良渚玉琮的核心因素,是良渚玉琮的灵魂,而琮体本身从一定意义上讲,只不过是为表现这一灵魂而设的躯壳罢了。对兽面神徽的表现,应是玉琮最基本的成形意图。关于琮的用途,近年来一些研究者,依据玉琮的形态特点和出土情况等,提出了一些新颖的见解。如作为保护死者和原始宗教巫术的法器;或认为琮是定居及兼并等的象征,其上的兽面纹有保护氏族免受侵害之意等。 在邓淑苹先生的研究文章中则已注意到了琮所具有的图腾崇拜的本质内涵,因而在她的著述中直呼其为“良渚文化中的图腾柱”,并进一步推断琮在使用时,应是“套于圆形木柱的上端,用作神祗或祖先的象征”。 刘斌认为“良渚玉琮是一种类似图腾柱的原始宗教法器,同时又不能和图腾柱完全等同起来。琮上雕刻的统一规范的徽像,说明具有比图腾崇拜更高层次的宗教形式。兽面神徽所表现的神灵,应已具备了类似殷人的“帝”或“上帝”的性质。琮是巫师们用以通神的工具,施刻于琮上的徽像,应该是巫师们要沟通的神或要在作法中表现的神的形象。” The theme of this "millet grain with Double Dragons and phoenixes" is "dragons and phoenixes are auspicious" with complete appearance. The dragon image is fierce and tyrannical, its body and limbs are strong and powerful, and the Phoenix bird's body is light and graceful, which complements the image of the dragon. Longzhang teeth, with Yin engraved lines to decorate the beard, lines simple and smooth. The outline of the dragon's body and limbs is vivid and beautiful. Jade moist, attached to a layer of gray skin, thick and natural slurry, deep texture, clear texture, collection of high-quality goods, is an indispensable collection, appreciation space is huge. Bi is the most important category of Chinese jades. As early as the Neolithic Age, Yubi was widely found in the archaeological culture of various regions. Since the Warring States Period, the regional style differences of Yubi have gradually disappeared, but its decorative patterns are extremely changeable and rich. It is a regular ring-shaped jade, with small holes, made of white jade, with brown and yellow color and gray skin around it. The color of the jade is old and the ancient rhyme is pale. One side is shallow relief, one dragon and one phoenix, the body is slender and coiled, rolling and moving, the head is pointed and round, the ears are close to the brain, there are grooves in the ears, the neck is slender, the long bristle flutters backward, a long thin line is engraved for the ridge, shoulder arched, appears strong and strong, limbs are strong, flower tail bifurcation, very dynamic. Fengyuan tail tip, pointed beak and long neck, feathers clear, fluttering to, thick long tail feathers floating in the back of the bifurcation and rolled up and adorned with short and thin shade line, rich, gentle, noble and dignified. This side is delineated with fine shade lines, while the other side is delineated with subtraction. The four characters of Yangeng seal book "Dragon and Phoenix Chengxiang" are fluent in font lines, such as flowing clouds and flowing water. Heaven and earth are two parts, Yin and Yang are intermingled, and all things in the world are born. According to the Records of History, Xia is the descendant of the dragon and Yin is the descendant of the phoenix, so the dragon and Phoenix are the incarnation of the beginning of the Chinese nation. Jade cone is a kind of cylindrical jadeware with inner circle and outer circle. It is a kind of ritual vessel used by ancient people to worship gods only. Xuejiagang culture in Anhui buried hill appeared about 5100 years ago. In the middle and late Neolithic Age, jade cones appeared in Liangzhu culture in Jiangsu and Zhejiang provinces. Although they had different shapes of height, square and circle, they were all emblemed with half-human and half-animal deities, which is a common feature of them. In Liangzhu culture, there is no evidence of inscribing a god's emblem, which can be called Guan in form. Therefore, the deity emblem can be said to be the core element of Liangzhu Jade Duck and the soul of Liangzhu Jade Duck. In a sense, the body itself is just the body for expressing this soul. The expression of animal face and deity emblem should be the basic forming intention of Jade Duck. In recent years, some researchers have put forward some new opinions on the use of jade cones according to their morphological characteristics and unearthed conditions. For example, as a magic weapon to protect the deceased and primitive religious witchcraft, or as a symbol of settlement and annexation, the animal face on it has the intention of protecting the clan from invasion. In Mr. Deng Shuping's research articles, he has noticed the essential connotation of Guan's totem worship, so she calls it "the totem pillar of Liangzhu Culture" in her writings, and further infers that when Guan is used, it should be "set on the top of the round wooden pillar, used as a symbol of gods or ancestors". Liu Bin believes that "Liangzhu Jade Duck is a kind of primitive religious instrument similar to totem pole, but it can not be completely equated with totem pole. The unified and standardized emblem carved on Guan shows that it has a higher level of religious form than totem worship. The animal face deity emblem should have the nature of "emperor" or "god" similar to Yin people. Guan is a tool used by wizards to communicate with God. The emblem inscribed on Guan should be the image of God that wizards want to communicate with or show in their practices.

市场分析与收藏价值

良渚文化存在的时间约为公元前5300年到公元前4500年左右,在这一时间范围内,玉琮不仅成为男性的象征,它的功能还从单纯的礼器转化为“礼器+随葬品”的复合。抛开它的性别意味不谈,它代表的中国原始哲学宗教观念,对反映原始文明的面貌,还是很有意义的。 Liangzhu culture existed from 5300 B.C. to 4500 B.C. within this time range, the jade cone not only became the symbol of men, but also changed its function from simple ritual vessel to "ritual vessel + funeral vessel". Despite its gender implication, it represents the primitive philosophy and religious concept of China, which is of great significance for reflecting the appearance of primitive civilization. 龙与凤,作为源远流长蕴含丰富的文化现象,作为中华民族的图徽与标志,成为人们喻情示美、秉德兆瑞的常示图腾。此璧玉质苍旧,雕琢灵巧,龙凤之姿虽静犹动,神形兼备,寓意龙凤呈祥,和美安康,宜藏宜赏。 Dragon and phoenix, as cultural phenomena with a long history and rich implications, as the emblem and symbol of the Chinese nation, have become the common totem of people's metaphor of beauty and Bingde Zhaorui. This Bi-yu is old in quality and ingenious in carving. Although the posture of dragon and phoenix is still and motionless, it has both spiritual and physical features. It implies that dragon and Phoenix are auspicious, beautiful and healthy, and is suitable for collection and appreciation.

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