<p class="ql-block">编辑：旭东 顺喜 铭台 刊发：旭东</p> <p class="ql-block" style="text-align:center;"><b style="font-size:20px;">首先致谢</b></p><p class="ql-block" style="text-align:center;"><b>梅英明先生 Jeffrey May</b></p><p class="ql-block" style="text-align:center;">美国芝加哥亚洲艺术遗产博物馆创始人</p><p class="ql-block" style="text-align:center;"><b>汪涛 博士 Dr. Tao Wang</b></p><p class="ql-block" style="text-align:center;">芝加哥艺术博物馆亚洲拓展事务执行总裁</p><p class="ql-block" style="text-align:center;">亚洲艺术部普利兹克专席主任</p><p class="ql-block" style="text-align:center;">中国艺术总策展人</p> <p class="ql-block" style="text-align:center;"><b>芝加哥亚洲艺术遗产博物馆</b></p><p class="ql-block" style="text-align:center;"><b>经典藏品（十三）</b></p><p class="ql-block" style="text-align:center;">哈图｜整理</p> <p class="ql-block" style="text-align:center;"><b>013</b></p><p class="ql-block" style="text-align:center;"><b>AN IMPORTANT AND RARE JADE </b></p><p class="ql-block" style="text-align:center;"><b>BIRD-FORM PENDANT, HUANG</b></p><p class="ql-block" style="text-align:center;"><b>新石器時代/良渚文化 </b></p><p class="ql-block" style="text-align:center;"><b>褐玉神面三叉鳥形璜</b></p><p class="ql-block" style="text-align:center;">Neolithic Period / Liangzhu Culture</p><p class="ql-block" style="text-align:center;">Length 10.3 cm.</p> <p class="ql-block"> 半環形弧形佩，鳥形俯視輪廓，兩翼平展作弧臂。兩面滿飾細密卷雲紋，鳥首各刻圓目。正面中央加飾二橢圓巨目，目下長方口，內皆填卷雲紋。弧端各鑽喇叭口穿孔，以便懸掛。玉質不透明，褐色間灰紋。</p><p class="ql-block"> 弧形佩多屬組合玉佩之一部分，常見於新石器時代，尤盛於紅山、良渚及龍山文化。其中鳥形俯視者較為罕見。美國史密森尼學會亞洲藝術博物館藏一件良渚文化玉牌(館藏號 S1987.734)，鳥首改為方舌，牌身陰刻一展翼鳥形，梯形首，下覆二橢圓目與橫紋，成鼻口之象。另有一件良渚文化同類玉器，飾化人面紋，線描刊於潔西卡·羅森(Jessica Rawson)《Chinese Jade from the Neolithic to the Qing》，芝加哥，2002年，第136頁，圖1 。此類化人面紋(shenren’「神人」)為該時期常見的象徵性圖像主題。</p> <p class="ql-block"> The semi-circular arced pendant carved in the outline of a bird viewed from the top. The outstretched wings of the bird forming the arms of the arc. Both sides of the pendant finely incised with a dense ground of cloud scrolls, and circular eyes on the head of the bird. The main side additionally decorated to the middle with two prominent ovoid eyes above a rectangular mouth, all infilled with further scroll motifs. The ends of the arc pierced with funneled apertures for suspension. The opaque mottled caramel jade with gray veining.</p><p class="ql-block"> Arc-shaped pendants were part of multi-piece jade pendant sets worn around the neck, and were common during the Neolithic period, especially among the Hongshan, Liangzhu, and Longshan cultures. Those carved in the shape of a bird viewed from the top, however, are rare. A related Liangzhu culture plaque can be found in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.734. In this piece, the bird head is replaced by a rectangular tab, but the main body of the plaque is incised with a stylized bird with trapezoidal head and unfurled wings, superimposed above two oval eyes and horizontal motifs that form the nose and mouth. The line drawing of another similar Langzhu culture piece, carved with a stylized face, is illustrated in Jessica Rawson, Chinese Jade from the Neolithic to the Qing, Chicago, 2002, p. 136, fig. 1, These types of stylized faces, called shenren, or spirit person, were common motifs of the period.</p> <p class="ql-block" style="text-align:center;"><b>文献源于：芝加哥亚洲艺术遗产博物馆</b></p><p class="ql-block" style="text-align:center;"><b>《鸟兽与礼器》</b></p>