<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（二十八）</b></p><p class="ql-block" style="text-align:center;">哈图｜整理</p> <p class="ql-block" style="text-align:center;"><b>028</b></p><p class="ql-block" style="text-align:center;"><b>A RARE WHITE JADE RETICULATED</b></p><p class="ql-block" style="text-align:center;"><b><span class="ql-cursor"></span>'DRAGON AND PHOENIX' PLAQUE</b></p><p class="ql-block" style="text-align:center;"><b>戰國 玉鏤雕龍鳳紋珮</b></p><p class="ql-block" style="text-align:center;">Warring States Period</p><p class="ql-block" style="text-align:center;">Width 7.9 cm.</p> <p class="ql-block"> 雙面空雕琢，構成極為精緻而繁複的裝飾性構圖，其中一對交纏的鳳凰以對稱鏡像形式呈現，作為主要視覺主題。整體設計圍繞明確的中軸展開，強化構圖的對稱性與視覺平衡。中心為一條主龍，其周圍環繞三對飛龍，呈放射狀分布。雖然整體動勢強烈，但仍維持嚴謹的結構秩序，使繁複與和諧得以並存。</p><p class="ql-block"> 此處所見的半圓形龍首紋樣，源自商代青銅禮器的核心視覺語彙，兼具象徵與裝飾功能。其最早在玉器中的應用，可見於湖北隨縣曾侯乙墓出土的合頁玉佩，展現青銅器圖像向玉器藝術轉化的過程。龍紋以極其細緻的陰刻技法呈現，表面布滿密集且富節奏感的裝飾紋樣，使整體視覺效果呈現高度繁複與精緻。</p> <p class="ql-block"> Finely carved in openwork on both sides, forming an exceptionally elaborate decorative composition in which a pair of interlaced phoenixes are presented as symmetrical mirror images, serving as the principal visual motif. The overall design is organized around a clearly defined central axis, reinforcing both compositional symmetry and visual balance. At the center is a main dragon, surrounded by three pairs of flying dragons arranged in a radiating pattern. Although the composition is highly dynamic in its movement, it maintains a strict structural order, allowing complexity and harmony to coexist.</p><p class="ql-block"> The semicircular dragon head morif observed here originates from the core visual vocabulary of Shang dynasty bronze ritual vessels, where it functioned as both a symbolic and ornamental element. Its earliest known application in jade carving can be seen in the hinged jade pendant excavated from the tomb of Marquis Yi of Zeng at Suixian, Hubei Province, demonstrating the transmission of bronze iconography into jade artistry. The dragon motifs are rendered with extremely fine incised techniques, the surface densely covered with rhythmic decorative patterns, resulting in a highly intricate and refined visual effect</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>