清康熙 御製銅鎏金交龍鈕云龙紋「倍無射」編鐘 鑄《康熙五十四年製》楷書銘款

Description

清康熙 御製鎏金銅交龍鈕云龙紋「倍無射」（ Bèi Wú Yì）編鐘 鑄《康熙五十四年製》楷書銘款

参考：苏富比
中國藝術珍品
07 十月 2015 • 香港
拍品 3626
清乾隆 鎏金銅朱雀玄武紋編鐘

估價 2,000,000 – 3,000,000 HKD

描述
bronze
27 公分，10 5/8 英寸

the bell sturdily cast of slightly flattened barrel form, suspended from a handle modelled with scrolling clouds above angular motifs, flanked by two pairs of cranes and phoenix flying amidst swirling clouds on the top, the sides further decorated with five bands of alternating bosses and foliate scrolls or stylised flames, interrupted on each of the wider sides with a rectangular panel framed with ruyi scrolls and raised on a lotus pedestal, further divided on each of the narrower sides with a panel densely cast with a five-clawed dragon chasing for a ‘flaming pearl’, all below a frieze of xuanwu (‘dragon tortoise’) amid foliate scrolls and phoenix among flames encircling the top, similarly decorated at the bottom with a border of foliate scrolls and flames

拍品資料及來源
This magnificent bell is impressive for its crisply cast decoration and lavish gilding. Modelled after Zhou dynasty archetypes, bells of this type accompanied every official event, from temple offerings for the God of Grain, Confucius and royal ancestors, to court assemblies, festivals and holiday celebrations. Usually employed together with complementary jade chimes (qing), the struck tones of this bells had cosmological significance and were considered a means by which to summon the immortals. The harmony and pitch of the tones also served as a reminder of the importance of consonance and order and therefore as a mirror on society.

During the reign of the Qianlong Emperor, gilt-bronze bells of this type were assembled in sets of sixteen producing twelve musical tones, with four tones repeated in a higher or lower octave. Cast in equal size but varying thickness, these bells were set in two rows and attached to tall elaborate wooden frames as depicted by Giuseppe Castiglione (1688-1766) in his painting Imperial Banquet in Wanshu Garden, included in the exhibition Splendors of China’s Forbidden City. The Glorious Reign of Emperor Qianlong, The Field Museum, Chicago, 2004, cat. no. 101.

The present bell is unusual in its decorative scheme and only a small number of closely related examples, possibly from the same set, appear to have been published; the first was sold in our Paris rooms, 9th June 2010, lot 43; the second was sold at Christie’s London, 29th March 1966, lot 171. For a complete set of bells see one cast from gold, dated to 1791, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Treasures of Imperial Court, Hong Kong, 2007, pl. 5.

参考：故宫博物院【金编钟】

清乾隆，架高350厘米，宽340厘米，钟高23.8厘米，径16.1厘米。

金编钟，以四成金铸造，双龙纽，表面镀金，成为货真价实的“金钟”（古人常称铜为金、吉金，金则称为黄金、真金，铜钟也习称金钟）。钟体呈浑圆的椭圆形，前面正中铸造年款“乾隆五十五年制”，背面则为各自的律名，饰以立体而精美的云龙纹。近口部六个凸起的圆唇，是受击而发声的部位。不同于先秦时期大小成列的编甬钟或编纽钟，清宫编钟一套十六圜外形尺寸完全相同，而以钟体厚薄为次区分音程，钟体愈薄发音愈低，依次对应倍夷则、倍南吕、倍无射、倍应钟、黄钟、大吕、太簇、夹钟、姑洗、仲吕、蕤宾、林钟、夷则、南吕、无射、应钟等清代乐律的四倍律、十二正律。

演奏时，十六圜编钟悬挂在一套架座上，并区分音律的阴阳分别悬挂于上下两层梁上，即上层八阳律、下层八阴吕，均按低音至高音的顺序悬挂。悬挂编钟的架座称为簨簴，横梁为簨，上簨两端雕刻龙首，列植金鸾五只；立柱为簴，左右两簴下承以五彩伏狮和趺座。架座表面髹金漆，鸾鸟和龙首口衔五彩流苏，颇具壮丽华贵气派。

编钟是先秦以来历代宫廷雅乐中的礼制重器，是“八音”中金之属的乐器。在明清宫廷中，编钟专用于坛庙祭祀和殿陛典礼所奏的中和韶乐，是天地尊神和至高皇权的身份象征。此套金编钟是乾隆帝专为乾清宫典礼改铸的。原本专用于乾清宫的铜编钟，因乾隆五十五年五月西华门内清茶房、外果房失火熏灼而不堪使用，乾隆帝干脆下旨仿照此前为宁寿宫铸金编钟例，也为乾清宫改铸金编钟。此套金编钟，共用四成金一万余两，表面五次镀金又用赤金叶数十两，耗费惊人。
撰稿人：孙召华

关键词： 金钟 龙纹 簨簴 五彩 金漆 中和韶乐乾清宫 西华门 宁寿宫 赤金

参考：苏富比
Important Chinese Art
03 十月 2017 • 香港
Important Chinese Art /
Lot 3724
AN IMPERIAL GILT-BRONZE ARCHAISTIC TEMPLE BELL, BIANZHONG MARK AND PERIOD OF KANGXI (DATED IN ACCORDANCE WITH 1715)
清康熙五十四年 鎏金銅交龍鈕八卦紋「仲呂」編鐘

估價 600,000 – 800,000 HKD
已售出 2,740,000 HKD
Estimate 600,000 – 800,000 HKD
Sold 2,740,000 HKD

Description
bronze
33 cm, 13 in.
the large bell finely cast, suspended from a double-headed dragon handle, each beast powerfully cast with eyes bulging and nostrils flaring above long curling whiskers, the mouth clenched open to reveal its tongue thrust between sharp fangs, with a pair of straight horns extending back over its head along a combed mane with fine details, the two scaly bodies intertwined and crouching in ambush, the large barrel-shaped body with four panels of alternating bosses and trigrams, divided by two rectangular panels, one inscribed with the characters Kangxi wushisi nian zhi (‘Made in the 54th year of Kangxi’) corresponding to 1715, and the other with zhonglü (the sixth tone)

Catalogue Note
During the Qing dynasty bianzhong were produced for the court and they became an essential component of Confucian ritual ceremonies at the Imperial altars, formal banquets and processions. The music produced by these instruments was believed to facilitate communication between humans and deities. Gilt-bronze bells of this type were assembled in sets of sixteen and produced twelve musical tones, with four tones repeated in a higher or lower octave. Of equal size but varying thicknesses, these bells were attached to tall wooden frames in two rows of eight, as depicted by Guiseppe Castiglione (1688-1766) in his painting Imperial Banquet in Wanshu Garden (ca. 1755), included in the exhibition Splendors of China’s Forbidden City. The Glorious Reign of Emperor Qianlong, The Field Museum, Chicago, 2004, cat. no. 101.
Four sets of bells of this form appear to have been created during Kangxi’s reign; the first two sets in the 52nd year (1713) and the second two sets in the 54th year (1715), and are believed to have been made for the Temple of Agriculture in Beijing. Several bells from the latter sets have been offered at auction. See two examples, one of yingzhong tone and the other of huangzhong tone, sold in these rooms, 8th April 2010, lot 1858, and 7th October 2010, lot 2105 respectively; a pair, of yingzhong and ruibin tones, sold at Christie’s Hong Kong, 1st December 2009, lot 1942; and two sets of five bells, formerly in the Audrey B. Love collection, sold at Christie’s New York, 20th October 2004, lots 455 and 456.

For bells from the set dated to 1713, see one sold in our New York rooms, 24th April 1975, lot 240; and two sold in these rooms, 9th October 2007, lot 1327, and the other, 17th May 1979, lot 454.

The dragons surmounting this bell are known as pulao, which according to ancient Chinese legend is one of the nine sons of the dragon. In this myth it was said that pulao resided close to the shore while his arch enemy, the whale, lived in the ocean. Whenever the whale would come to attack, pulao would sound a roar. The structure of a bell is thus associated with this legend; the clash of the bell, pulao, with the striker, the whale, would result in the dragon producing its loud ringing roar.

参考：佳士得
2 6月 2015 | 現場拍賣 3433
中國宮廷御製藝術精品
重要中國瓷器及工藝精品
拍品 3119 清乾隆 御製鎏金銅交龍鈕雲龍紋「南呂」編鐘 《乾隆八年製》楷書刻款
A RARE IMPERIAL GILT-BRONZE ‘DRAGON’ RITUAL BELL, BIANZHONG
THE PROPERTY OF A RUSSIAN GENTLEMAN
QIANLONG CAST FIVE-CHARACTER MARK, CORRESPONDING TO 1743 AND OF THE PERIOD

成交價 HKD 17,440,000
估價 HKD 5,000,000 – HKD 7,000,000

清乾隆　　 御製鎏金銅交龍鈕雲龍紋「南呂」編鐘 《乾隆八年製》楷書刻款
QIANLONG CAST FIVE-CHARACTER MARK, CORRESPONDING TO 1743 AND OF THE PERIOD

細節

鐘圓體，中空，腰部稍大，小口齊平，頂飾交龍鈕。

鐘體滿鏨紋飾，兩道弦紋把整體分開三層，上滿飾朵雲紋；主體中層飾雙龍戲珠紋輔雲紋，正中長方形框中鑄陽文楷書律名「南呂」，背面鑄「乾隆八年製」款；下部鑄八個音乳，以供敲擊之用，音乳以對稱角雲紋相間。

此件編鐘與香港佳士得於2008 年5 月27 日拍賣的一件「仲呂」編鐘原為一套（圖四）。編鐘是中國古老的禮器、樂器，多由青銅鑄造，於宮廷演奏，每逢征戰、朝見或祭祀等活動時，都要演奏編鐘。編鐘一套十六枚，分兩層懸掛於木架之上，每個的外形和大小相同，以厚薄調節音高，鐘體越薄發音越低。它的音色以黃鐘為準，分別是黃鐘，大呂，太簇，夾鐘，姑洗，仲呂，蕤賓，林鐘，夷則，南呂，無射，應鐘等十二音律，見2007 年北京紫禁城出版《故宮經典．清宮生活圖典》第50 頁。

乾隆六年（1741）以五年時間考訂樂律，在繼承前代的基礎上有所改進，編成《律呂正義後編》，完整收錄清朝宮廷音樂的樂譜，包括祭祀樂、朝會樂、宴享樂等，是對中國古代宮廷音樂的集大成。

法國楓丹白露宮藏有來自另一套的南呂和應鐘兩枚音律的編鐘，為乾隆九年（1744 年）造。北京故宮博物院藏有一套十六枚、曾被末代皇帝溥儀抵押給銀行的黃金編鐘，其紋飾與本鐘大至相同，上鑄「乾隆五十五年製」銘款，為乾隆帝八十大壽而鑄。見2004 年香港出版《故宮博物院藏文物珍品全集．宮廷珍寶》，圖版5。

來源
俄羅斯醫生家族舊藏，其於1900-1902 間在 華行醫，並因其貢獻而獲清政府頒發執照 及三等第一寶星。後於家族流傳至今

狀況報告
– In good overall condition with the exception of a few minor dents and scratches to the surface as can be expected.
– There is some minor wear to the gilding and there may have been some regilding to the mouth rim (this may have been done some time ago).

拍品專文
The present example belongs to the same group as the bell, cast with the characters, zhonglu denoting the 6th tone, sold at Christie’s Hong Kong, 27 May 2008, lot 1540 (fig. 1). The tradition for these bells cast with dragons on the exterior was established as early as the Kangxi 54th year (1715) as exemplified by two similar bells from the Yousaian Collection, sold at Christie’s Hong Kong, 27 May 2009, lot 1818.

Bells of this type were known as bianzhong and were assembled in graduated sets of sixteen, providing twelve musical tones with the four repeated notes in lower or higher octaves. The twelve Chinese musical tones are arranged in the following sequence: Huangzhong (1st), Dalu (2nd), Taicu (3rd), Jiazhong (4th), Guxi (5th), Zhonglu (6th), Ruibin (7th), Lingzhong (8th), Yize (9th), Nanlu (10th, as cast on the present bell), Wushe (11th), and Yingzhong (12th). Bells of this type were suspended in two tiers of eight attached to tall wooden frames, as depicted in a Court painting by Guiseppe Castiglione entitled, ‘Imperial Banquet in Wanshu Garden’, illustrated by Chuimei Ho and Bennet Bronson, Splendors of China’s Forbidden City, The Field Museum, Chicago, p. 52, pl. 42. These bells were arranged in accordance with the thickness of their casting, and which also determined their respective musical note. A set of sixteen is illustrated in Life in the Forbidden City of Qing Dynasty, The Forbidden City Publishing House, 2007, p. 50, no. 50.

Bianzhong were essential in ritual ceremonies at the Imperial altars, formal banquets and during processions. It has been noted that in 1741, Qianlong set up a Music Division for court music and the specified melodies of his choice for the various court functions which prevailed into the early 20th century, op. cit., The Field Museum, p.52.

A set of bells bearing the marks of Qianlong wushiwu nianzhi, made in 55th year of Qianlong reign (1790), is in the Beijing Palace Museum collection. Two of these, denoting the musical note Taicu (3rd tone) and Jiazhong (4th tone) are illustrated in Treasures of Imperial Court, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2004, pp. 6-7, no. 5. The Palace Museum examples are made of solid gold, similar to an earlier set that was cast in the Kangxi reign. The Qianlong set was given to the Emperor by officials in celebration of the Emperor’s eightieth birthday. It has been noted that the last Qing emperor, Puyi, in order to raise funds used these bells as collateral against a loan from Beijing’s Yanyue Bank but they were returned to the Palace in 1949, ibid, p. 6.

Two comparable dragon-decorated bells, dated to 1744 and cast with additional classic scroll bands between the dragons, are in the Palace of Fountainebleau, illustrated in Le Musee chinois de I’imperatrice Eugenie, 1994, p. 47 fig. 34. From the illustration, these bells appear to be incised with the characters, Nanlu, the 10th musical note as on the present example, and Yingzhong, the 12th note. The Fountainebleau bells are more likely to have belonged to a series different to the present example as they are cast with angular shoulders and their musical notes are incised, rather than cast as on the present bell. It is interesting to note that a drawing of a similar bell designed with a dragon, appeared in the Illustrated London News of 13 April 1861.

The known Kangxi examples are designed around the exterior with trigrams rather than decorated with dragons as on the present bell. There are two groups of five dated to the Kangxi period from the C.Ruxton and Audrey B. Love collection, sold at Christie’s New York, 20 October 2004, lots 455 and 456. The first, with an inscription dated to the 52nd year of Kangxi (1713); bearing the 7th, 8th, 10th, 11th and 12th tone respectively. The second group dated to the 54th year of Kangxi (1715); bearing the 5th, 6th, 10th, 11th and 12th tone respectively. Another wushi (11th) tone bell from the 52nd year of the Kangxi period from the Lord and Lady Hesketh collection was sold at Sotheby’s Hong Kong, 9 October 2007, lot 1327; and another wushi bell dated to the 54th year of Kangxi was sold at Christie’s Hong Kong, 26 April 1999, lot 520.

参考：清铜鎏金“倍无射钟”将拍卖
2005年06月07日10:47  北京日报

曾被清康熙帝用于天地、社稷、宗庙等祭祀大典的一枚编钟———“倍无射钟”,将在本月18日举行的翰海大拍上推出。这打破了国家大典礼乐之器绝迹国内拍卖场的历史。

据介绍,康熙重师儒、以周礼为本,因此朝廷设计了一整套礼乐之器。每逢朝廷举行天地、社稷、宗庙等祭祀大典,以及大朝会、燕飨、命将出师、临殿策士等,乐部便率“和声署”悬编钟等系列乐器于太和殿或太庙,演奏“中和韶乐”。此次拍卖的即为其中一枚。该钟属于十六枚编钟中仅次于最高音“应钟”的“无射”音,在十二律吕中属于倍律,因此名为“倍无射钟”。

这件铜鎏金“倍无射钟”,高31.8厘米,十分精致、严谨。钟钮为双龙连身,钟腹分为四区,区内有三排钮;钟的正面浮雕阳文“康熙五十四年制”,背面浮雕阳文楷书“倍无射”,上下装饰八卦图,钟腹两侧浮雕夔龙,上饰如意云纹。钟下部浮雕六个圆形音乳,钟体呈鼓形,形制浑圆饱满,内敛而大气磅礴,完美体现了国家典章礼乐的庄重和威严。

作为国之重宝、国体象征,“倍无射钟”对研究清代礼乐、工艺也具有重要史证价值。因此有望在拍卖场上创下天价。

参考： 北京翰海拍卖有限公司
2005春季拍卖会2005-06-20
2005春季拍卖会·古董珍玩
LOT号 2484 清康熙 铜鎏金楷书倍无射八挂编钟

拍品信息
尺寸 高31.8cm
估价 RMB 　1,200,000-1,600,000
成交价 RMB 　1,936,000 HKD 　1,826,415 USD 　233,816 EUR 　179,259
说明
“康熙五十四年制”楷书款

说明：
清初，康熙隆重师儒，以周礼为本，设计了一整套朝廷礼乐之器，每逢举行天地、社稷、宗庙等祭祀大典以及大朝会、燕享、命将出师、临殿策士等朝廷盛事，乐部率和声署悬乐器于太和殿或郊坛、太庙，演奏“中和韶乐”。礼乐演奏“以黄钟为宫，镈钟击以起乐，编钟从之”。一组编钟十六枚，由低至高依次为黄钟、大吕、太簇、夹钟、姑洗、仲吕、蕤宾、林钟、夷则、南吕、无射、应钟。编钟大小相等，钟壁依次由厚及薄，奇数为律，偶数为吕。六律六吕组成十二律吕。十二律为正律，即一个八度，高八度为半律，低八度为倍律。此钟为倍律编钟之一。

“倍无射钟”，铜鎏金，以施蜡法铸就，钟钮为双龙连身，脊背拱起，用於穿系，钟腹分 为四区，区内有三排钮，钮间高浮雕八卦文，钟的正面浮雕阳文“康熙五十四年制”背面浮雕阳文“倍无射”，楷书，上饰八卦图，钟腹两侧浮雕夔龙，上饰如意云纹。钟下部浮雕六个圆形音乳，钟体呈鼓形，铸制精细、严谨，一丝不苟，形制浑圆饱满，内敛而大气磅礴，体现了国家典章礼乐的庄重和威严。

参考：佳士得
30 11月 2009 | 現場拍賣 2731
重要中國瓷器及工藝精品
拍品 1942 清康熙 御製鎏金銅交龍鈕八卦紋「應鐘」Yingzhong、「蕤賓」Ruibin 編鐘各一枚  鑄《康熙五十四年製 》楷書銘款
PROPERTY FROM THE TREVOR FAMILY COLLECTION
TWO RARE IMPERIAL GILT-BRONZE ARCHAISTIC RITUAL BELLS, BIANZHONG

成交價 HKD 16,340,000
估價 HKD 5,000,000 – HKD 7,000,000

細節

清康熙 御製鎏金銅交龍鈕八卦紋「應鐘」（Yingzhong）、「蕤賓」（Ruibin） 編鐘各一枚  鑄《康熙五十四年製 》楷書銘款

鐘圓體，中空，腰部稍大，小口齊平。頂飾交龍鈕，龍背供起成孔，用於穿繫。兩道弦紋把鐘分為三層，上層光素無紋飾；主體中層分為四個部分，每個部分內有三排鈕，鈕間高鑄八卦文，鐘腹兩側鑄夔龍拐子，上飾如意雲紋，正面鑄陽文「康熙五十四年製」銘款，背面一鑄陽文「應鐘」、另一鑄「蕤賓」楷書律名，上飾八卦圖。鐘下部鑄八個圓形音乳，以供敲擊之用。此鐘鑄於康熙五十四年，即1715 (乙未) 年。鑄造精細、嚴謹，盡顯皇家氣派。

編鐘是中國重要的樂器，也是重要的禮器。中國的禮樂制度從原始社會萌芽到先秦，發展到西周最後確立，成為當時人們的行為規範準則。據文獻記載和出土文物的研究，中國在西周時期出現的編鐘為三枚一組，春秋晚期以九枚一組的編鐘為多。1978年在湖北隨州市擂鼓墩鎮一座戰國時代（約公元前433年）的曾侯乙墓中出土了一套共65枚的青銅編鐘，其造型壯觀，配備齊全，音列充實，音頻準確，堪稱中國古代編鐘之最，現藏湖北省博物館。

清朝康熙皇帝隆重師儒，以周禮為藍本，設計了一套用於天地、社稷、宗廟等祭祀大典以及大朝會、宴享、命將出師、臨殿等朝廷盛事，樂部率和聲署懸樂器於太和殿或郊壇、太廟、演奏「中和韶樂」，為國家大典禮樂之器。禮樂的演奏「以黃鐘為宮，鎛鐘擊以起樂，編鐘從之」。一組編鐘十六枚，外型和大小相等，分兩層懸掛於木架之上，它的音色以黃鐘為準，由低至高依次為黃鐘、大呂、太簇、夾鐘、姑洗、仲呂、蕤賓、林鐘、夷則、南呂、無射、應鐘，以及四個低音倍夷則、倍南呂、倍無射、倍應鐘。

此兩枚編鐘來源顯赫。原為著名美國工業家 Thomas. B. Clarke (1848-1931) 所藏，1925年1月8日於紐約 American Art Galleries拍賣，拍品第216和217號，創下了當時的拍賣記錄。後傳至被稱為「對美國國會最有影響力的律師之一」的美國著名律師John Bond Trevor (1878-1956)，之後為Bronson Trevor (1910-2002) 及後人所藏。

來源

Thomas B. Clarke collection, sold at American Art Galleries, New York, 8 January 1925, lots 216 and 217
John Bond Trevor (1878-1956)
Bronson Trevor (1910-2002)
And thence by descent to the present owners

拍品專文
Heavily cast gilt-bronze bells of this type, known as bianzhong, took their inspiration from archaic bronzes of the Western Zhou dynasty (1100-771 BC). The best known archaic prototypes are those excavated from the tomb of the Marquis Zeng, now in the Hubei Provincial Museum, illustrated by Lothar von Falkenhausen, Suspended Music: Chime Bells in the Culture of Bronze Age China, California, 1993, p. 6, fig. 1. By the Qing dynasty, the imperial court closely followed Confucian ideals as set out in ancient Chinese classics such as the Book of the Zhou, Zhou Li, which advocated that rituals should commence with music. In the Qing dynasty, bianzhong were produced for the court and became an essential part of court ritual musical instruments. They were played during ceremonies at the imperial altars (in particular, the Temple of Heaven and Temple of Agriculture) and during formal banquets and state rites.

The present bells are part of a graduated set of sixteen, each of which are cast with varied thicknesses to provide a range of twelve standard musical tones with four additional repeated notes in lower octaves. Each of the twelve principal Chinese musical characters are cast to one side of each bell, opposite the reign mark, and together they appear in the following sequence: 1st, Huangzhong; 2nd, Dalu; 3rd, Taicu; 4th, Jiazhong; 5th, Guxi; 6th, Zhonglu; 7th, Ruibin (as cast on one of the present two bells); 8th, Lingzhong; 9th, Yize; 10th, Nanlu; 11th, Wuyi; and 12th, Yingzhong (as on the second of the bells). In Chinese musicology, the twelve main tones alternately provide a Yang, positive, and Yin, negative note. The four repeated bells of lower octaves, thus making up the total of sixteen, are Pei Yize, Pei Nanlu, Pei Wuyi, Pei Yingzhong.

All sixteen bianzhong would have been suspended in two tiers of eight attached to tall wooden frames, as depicted in a court painting by Guiseppe Castiglione entitled: ‘Imperial Banquet in Wanshu Garden’, illustrated by Chuimei Ho and Bennet Bronson, Splendors of China’s Forbidden City, The Field Museum, Chicago, p. 52, pl. 42. The bells are arranged in accordance to their thickness and respective musical tone. A carillion of sixteen bells is illustrated in Life in the Forbidden City of Qing Dynasty, The Forbidden City Publishing House, 2007, p. 50, no. 50.

A number of Kangxi bells designed with trigrams on the exterior are dated to the 52nd year of the Emperor (1713) and 54th year have appeared at auctions over the last hundred years. A number of these are reputed to have been removed from either the Yuanmingyuan in 1860 or the Temple of Agriculture during the Boxer Rebellion in 1900. The present bells were sold as part of the collection of Thomas B. Clarke which took place at the American Art Galleries on 8 January 1925. At the time, the present owners’ grandfather, Mr John Bond Trevor, purchased both bells for a total of US$1,500, a considerable sum which attracted media attention at the time.

Further research on these Kangxi ritual bells indicates that there are at least four sets of bells in private collections: two sets of which are dated to the 52nd year of Kangxi reign, and two sets dated two years later, 54th year. Aside from the present Yingzhong, there is an identical bell dated to 1715 that was sold at Nagel auction, 2 November 2006, lot 1367, and was offered at Christie’s 3 December 2008, lot 2506, which when struck plays a D-sharp tone. From the known group of bells made in the 54th year of Kangxi: cf. a single bell bearing the third standard tone, Taicu, sold at Sotheby’s Hong Kong, 17 May 1989, lot 454; a bell cast with Wuyi, 11th tone, which sounds an A-sharp tone, sold at Christie’s Hong Kong, 26 April 1999, lot 520; and five bells from the Audrey Love collection were sold at Christie’s New York, 20 October 2004, in a single lot 456 (the bells respectively denoting 5th, 6th, 9th, 10th tones with a low octave Pei Yingzhong).

参考：佳士得
5 11月 2012 | 現場拍賣 5889
重要中國瓷器及工藝精品
拍品 78
A PLASTER MODEL OF A BELL
石膏交龍鈕雲龍趕珠紋編鐘模 《乾隆五十五年製》、《仲呂》款
清

成交價 GBP 13,750
估價 GBP 10,000 – GBP 15,000

清 石膏交龍鈕雲龍趕珠紋編鐘模 《乾隆五十五年製》、《仲呂》款

來源
英國私人收藏

拍品專文
北京故宮博物院藏一套金編鐘，帶有雲龍紋飾及《乾隆五十五年製》款，與此拍品如出一轍，載於2007年北京出版《故宮博物院》，170頁

参考： Sotheby’s
中國藝術珍品
160 HEARST 家族收藏
2015年9月16日 | 下午 2:00 EDT 紐約
清乾隆八年（1743年） 御製銅鎏金交龍鈕雲龍趕珠紋「倍南呂」編鐘
《乾隆八年製》款

估價 1,000,000 — 1,500,000 美元
拍品已售 1,210,000 美元 成交價 (含買家佣金)

清乾隆八年（1743年） 御製銅鎏金交龍鈕雲龍趕珠紋「倍南呂」編鐘
《乾隆八年製》款

高 10 3/4 英寸， 27.3 公分

狀況報告
鑄工精美，表面見鏽斑、正常磨損及細微裂紋。紋飾邊緣等處見細微缺損，頂鈕一側龍鬚缺失。整體見幾處鑄造補片，皆為原始。

來源
山中商會
The American Art Galleries，紐約，《The Notable Yamanaka Collection of Artistic Oriental Objects and Decorative Art》，1921年2月5日，編號579
William Randolph Hearst (1863-1951)收藏，購自上述拍賣
Blanche Wilbur Hill（William Randolph Hearst前兒媳）1961年1月9日購自上述收藏
後家族傳承

2015年9月15日
御製銅鎏金交龍鈕雲龍趕珠紋編鐘
Cynthia Volk

乾隆帝好雅慕古，博閱史籍，深曉高古鐘樂所代表之重大意義，故以之鞏固政權，昭明威望，自清宮收藏逾千件高古銅器中，嚴選成組十一件周朝銅鐘，親撰御文嘉賞，又特設專廳展示，遠追高古禮儀，以古代重器，發揚歷朝天子傳統，肩負承傳重任。如本品之清代編鐘，以周朝古器為雛本，然而遍體鎏金，而非模仿古器飾以深綠包漿。如此做法，與其祖父康熙帝相近，慕古之餘不流於模仿。本品鎏金華貴，頂飾交龍鈕，器身鑄華美浮雕，宣示財力重權，極具清代特色。

弘歷愛樂，對樂理興趣濃厚，故於1741年首設樂部，考訂樂律，訂宮廷雅樂樂制，制各宮廷儀式禮樂之歌譜，一直流傳至20世紀初。如本品之鎏金編鐘，以十六枚為一虡jǔ ，應十二本律及四倍律，陰陽各八，尺寸相同，鐘壁厚薄有別，高懸於木虡jǔ之內，木虡jǔ裝飾華美。可見於郎世寧（1688-1766）繪《萬樹園賜宴圖》（約1755），曾展於《Splendors of China’s Forbidden City. The Glorious Reign of Emperor Qianlong》，The Field Museum，芝加哥，編號101。

現時文獻記載乾隆御製編鐘之中，法國楓丹白露宮收藏兩枚，與本品相同（圖一）。鐘身刻有《乾隆八年製》款，另一面長方形框中分別刻「南呂」（音階之第十音）及「應鐘」（音階之第十二音），圖見《Le Musée Chinois de L’imperatrice Eugénie》，巴黎，2001年，頁39。此兩枚編鐘出自一組來自北京之貢品，1861年由Montauban將軍精選，代表法國軍隊獻予拿破崙三世及其皇后尤吉尼，即於杜樂麗花園公開展覽（圖二）。展覽過後，軍事作品送往國家軍備倉庫，其他由尤吉尼皇后收藏，並挑選最愛珍品，置於杜樂麗花園內之私人廳房長期展示，該兩鐘即在其內。兩年後（1863），兩銅鐘移至楓丹白露宮中國館，該館由尤吉尼皇后收藏親自精心策劃，共佔宮中四廳。

北京故宮博物院目前收藏成組乾隆御製編鐘最少兩組，其一乾隆二十九年製（1764），鎏金銅編鐘，另一組為黃金鑄造，乾隆五十六年製（1791）；其中「太簇」（音階之第三音）、「夾鍾」（音階之第四音）圖見《故宮博物院藏文物珍品全集•宮廷珍寶》，香港，2004年，頁6-7，圖版5。該組金編鐘由朝臣上奉，慶乾隆八十大壽。末代皇帝溥儀曾以該組編鐘作抵押，向北京鹽業銀行借貸。1949年，該組編鐘歸還至紫禁城。

乾隆御製編鐘極為珍罕，除故宮收藏之外，僅只數例曾現身拍賣場。一佛鐘例，乾隆元年製（1736），月牙邊沿，售於倫敦佳士得2008年11月4日，編號48；另有兩例，與本品同製於乾隆八年，尺寸較小，鑄淺浮雕落款，下部鑄多個音乳，兩品分別售於香港佳士得2008年5月27日，編號1540及2015年6月3日，編號3119。此外尚可參考三例，飾八卦紋飾，乾隆十一年製（1746），其中兩例分別售於紐約佳士得2001年10月16日，編號307及1995年9月22日，編號492，第三例現藏於紐約大都會藝術博物館，1903年由Major Louis Livingston捐獻。巴黎蘇富比曾售一例，乾隆十三年製（1748），仿古造型，售於2010年6月9日，編號39。再比數例，鑄於乾隆年間，其中一例售於倫敦蘇富比2006年11月8日，編號36，尺寸較大，另一例售於巴黎蘇富比2010年6月9日，編號43，此外尚有一鎏金銅鐘，仿周朝風格鑄成，售於費城Freeman’s，2015年3月14日，編號65。

[i] Alison McQueen，《Empress Eugénie and the Arts; Political and Visual Culture in the Nineteenth Century》，伯靈頓，佛蒙特，2011年，頁229。

参考：中贸圣佳
2017艺术品拍卖会
2017年6月18日
专场名称：璀璨——中国古代艺术珍品及宫廷器物夜场
LOT 140 清康熙 鎏金交龙钮五十四年制应钟

估价：￥3,800,000-4,500,000
成交价：￥4,370,000
H: 32cm

参阅：1.《故宫博物院藏文物珍品大系·宫廷珍宝》，故宫出版社，页六；
2.《大清盛世·沈阳故宫文物展》，页一五八三；
3.《故宫经典·清宫生活图典》，故宫出版社，页二十九。

参考：
江苏爱涛拍卖有限公司
吉金—明清铜器专场
0889 清康熙 五十四年制金编钟

专　场：
作品名： 清康熙 五十四年制金编钟
尺　寸： 高28.5cm
估　价： 2,600,000—3,000,000元
说　明：
黄钟大吕，浩浩文明。礼仪之邦，泱泱中华。自夏商周之后，中国成为一统大国，就建立了完整的国家仪制，且以青铜器的诸多形制承载，亦铸造镂刻诸多纹饰，取天地鬼神，自然人伦，万般形象，寄崇敬万物之天道，寓美好之愿望，以祈得四季风调雨顺，五谷丰登，国泰民安云云。以至于中国历朝历代都传承有序，仿造青铜器，得以寄寓以上诸多意义。礼器发展到清代，达到了极致，且倾国家之巨资，以赤金为造，以清三代为最，其中又以康熙一朝最为厚重庄严。康熙九年，康熙十三年，康熙五十四年，皆有重铸。金编钟一物，实为国家礼乐中之乐器，尤以在黄钟大吕之中必不可少。韶乐之中，每至关节，必以应答，且有古律依循，断断不可紊乱也。编钟之器，以组为体系，一般一十二件组成一体，由小到大，尺寸、重量不同，演奏时声音不同，与其他管弦丝竹配齐，形成和乐。另有一类，即一十二件钟，形体、尺寸、重量统统一样，作为礼器，陈设于殿堂之上，以正庄严。此件金钟，即是其中之一。静观此器，混元厚重。纹饰高峻，弦纹公正，平行对仗。阴阳八卦，鼓丁高耸，等距匜列。双龙合体，目眦凛然，各守祺祥。四爪鼎立，巍然抓地，铸刻精细，甚是威严。通体严谨，鎏金粲然，质若黄金。无论陈设赏玩，皆可逸致，实为康熙一朝之高贵礼器。

参考： 保利香港
逸趣芸窗：文人陈设及佛教艺术
Lot 3427
清康熙五十四年 铜鎏金交龙钮「夹钟」编钟 

估价 HKD 3,000,000-3,800,000
约折合人民币：2,478,000-3,138,800

拍卖信息
尺寸 H 31.5cm 15.1kg
描述 清康熙五十四年 铜鎏金交龙钮「夹钟」编钟
款识：「康熙五十四年制」「夹钟」

来源
香港私人收藏

参阅
1. 故宫博物院编，《宫廷珍宝——故宫博物院藏文物珍品大系》，2004年，香港，页6
2.《大清盛世•沈阳故宫文物展》，国立历史博物馆，台北，2011年1月29日至5月1日，页1583
3. 万依，王树卿，陆燕贞主编，《故宫经典清宫生活图典》，2007年，北京，页29

钟圆体，中空，腰部稍大，小口齐平。顶饰交龙钮，龙背供起成孔，用于穿系。两道弦纹把钟分为三层，上层光素无纹饰；主体中层分为四个部分，每个部分内有三排钮，钮间高铸八卦文，钟腹两侧铸夔龙拐子，上饰如意云纹，正面铸阳文「康熙五十四年制」铭款，背面一铸阳文「夹钟」楷书律名，上饰八卦图。钟下方近口处铸八个「音乳」，作击打之用。保存完好，除少处磨耗外，鎏金整体金光辉映，令人想象到康熙时祭祀典礼全套齐悬在金漆雕木编钟架上时所展现的华贵及庄重。

此钟铸于康熙五十四年，即1715 (乙未) 年。铸造精细、严谨，尽显皇家气派。编钟是中国重要的乐器，也是重要的礼器。清朝康熙皇帝隆重师儒，以周礼为蓝本，设计了一套用于天地、社稷、宗庙等祭祀大典以及大朝会、宴享、命将出师、临殿等朝廷盛事，乐部率和声署悬乐器于太和殿或郊坛、太庙、演奏「中和韶乐」，为国家大典礼乐之器。礼乐的演奏「以黄钟为宫，镈钟击以起乐，编钟从之」。一组编钟十六枚，外型和大小相等，分两层悬挂于木架之上，它的音色以黄钟为准，由低至高依次为黄钟、大吕、太簇、夹钟、姑洗、仲吕、蕤宾、林钟、夷则、南吕、无射、应钟，以及四个低音倍夷则、倍南吕、倍无射、倍应钟。

康熙年间以四个倍律(低音)、倍夷则、倍南吕、倍无射和倍应钟、取代沿用的四个清声(高音)。于郎世宁等多位宫廷画家合绘的清乾隆「万寿园赐宴图轴」（见《故宫博物院藏文物珍品全集14(清代宫廷绘画)》、1996年、香港、编号37、或The Field Museum, 《Splendors of China’s Forbidden City,The Glorious Reign of Emperor Qianlong》、芝加哥、2004年，编号101）中、可见十六枚大小相同、但壁厚不一的铜钟、均分二组八个挂于木制二层钟架上作演奏。这种形制的鎏金铜龙钮「八卦」编钟，应有不少于四组曾在康熙朝内铸制，分别为康熙五十二年及五十四年之各二组。相信它们是作为北京先农坛祭祀典礼中奏礼乐使用。

康熙五十四年铸造的编钟时常见于拍卖会。香港佳士得2009年12月1日编号1942的「应钟」「蕤宾」；纽约佳士得2004年10月20日Andrey B. Love收藏内两组各五枚（编号455及456），这一套之后分散出现香港苏富比、香港佳士得和北京保利拍卖；纽约苏富比1997年3月19日编号25的「太簇」；及香港佳士得1999年4月26日编号520之「无射」等。美国大都会博物馆藏有一件与本件作品同为「夹钟」的康熙五十四年编钟，应当为另外一套。可以看出，自先农坛流出的康熙五十四年编钟应当在两套或两套以上。

康熙五十二年铸造的编钟亦在苏富比的拍卖上出现，其中香港苏富比2010年4月8日；编号1858的「应钟」；于康熙五十二年铸造的「八挂」纹编钟亦曾在苏富比的拍卖上出现、如纽约苏富比1975年4月24日之编号240；及两枚于香港苏富比售出例子、包括2007年10月9日之编号1327和1979年5月17日之编号454。北京故宫博物院内藏一套十六件铸雕云龙纹的编钟，只其年款略有不同，作「康熙五十二年审定」。

A Rare Imperial Gilt-Bronze Temple Bell, Bianzhong, The 54th Year of Kangxi Period, Corresponding to 1715
PROVENANCE
A Hong Kong private collection

拍行 保利香港
专场 逸趣芸窗：文人陈设及佛教艺术
时间 2021年04月21日 10:30

参考：
佳士得香港有限公司
2009春季拍卖会
中国宫廷御制精品及中国瓷器工艺品
LOT号： 1818 清康熙 御制鎏金铜交龙钮云龙纹「无射」、「夹钟」编钟各一枚

拍品信息
尺寸 高31cm；29.8cm
作品分类 工艺品杂项 铜器
创作年代 清康熙
估价 HKD 　10,000,000-15,000,000
成交价 RMB 　40,004,800 HKD 　45,460,000 USD 　5,818,880 EUR 　4,546,000

专场 中国宫廷御制精品及中国瓷器工艺品
拍卖时间 2009-05-27
拍卖公司 佳士得香港有限公司
拍卖会 2009春季拍卖会
说明
铸《康熙五十四年制》楷书铭款钟圆体，中空，腰部稍大，小口齐平。顶饰交龙钮，龙背供起成孔，用于穿系。钟体满錾纹饰，两道弦纹把钟体分开三层。上层满饰如意朵云纹；中层主体饰双龙戏珠纹辅云纹，正中长方形框内一铸阳文楷书律名「无射」、另一铸「夹钟」； 背面铸《康熙五十四年制》楷书铭款；下部铸八个音乳，以供敲击之用，音乳以 对称云角纹相间。编钟是中国一种古老的礼器、乐器。一组编钟共16枚，大小相等，钟壁依次由厚至薄，奇数为律，偶数为吕。由低至高依次为黄钟、大吕、太簇、夹钟、姑洗、仲吕、蕤宾、林钟、夷则、南吕、无射、应钟。礼乐演奏「以黄钟为宫」，「钟击以起乐，编钟从之」。作为国家大典礼乐之器，其铸造工艺必经精雕细 琢，以示宫廷乐器及礼器的非凡气派。传世的康熙朝编钟多饰八卦纹，如此拍品饰以云龙纹的甚为珍罕。此两枚编钟为日本优彩庵之旧藏，二十世纪初购为馆藏。

参考：瀚邦斯拍卖
LOT 2102
A RARE AND IMPORTANT IMPERIAL GILT-BRONZE RITUAL ‘RUIBIN’ BELL, BIANZHONG
Qianlong mark and of the period, dated Qianlong 8th year, corresponding to 1743

Sold for US$ 607,500 (CA$ 735,999) inc. premium

Chinese Works of Art and Paintings
13 Mar 2017, 12:00 EDT
New York

A RARE AND IMPORTANT IMPERIAL GILT-BRONZE RITUAL ‘RUIBIN’ BELL, BIANZHONG
Qianlong mark and of the period, dated Qianlong 8th year, corresponding to 1743
Finely-cast in concave cylindrical form, the flat top surmounted by a pair of addorsed dragons, intricately worked with scaled, arched backs in crouched positions, the large heads with ferocious expressions and mouths agape to reveal pointed fangs, the concave sides crisply cast with a pair of writhing dragons with intricately rendered scales, striding amidst clouds above a band of rolling waves, the dragons separated by vertical rectangular cartouches, one enclosing an incised dated reign mark reading Qianlong ba nian zhi, the other with two characters in high relief reading ruibin, all between a band of formalized cloud wisps and eight circular striking discs around the base.
8 1/4in (21cm) high
14 lbs 7oz (6.545kg) weight

Footnotes
Provenance
Property of Gale and Donald Sturdevant, Los Gatos, California

清乾隆 銅鎏金交龍鈕雲龍趕珠紋「蕤賓」編鐘 《乾隆八年製》款
銅鑄鎏金編鐘，器身呈鼓墩形，平頂飾有立雕拱背交龍鈕，雙龍長角利爪，瞪目張口，龍鱗細密，器腹飾海水祥雲雙龍戲珠，一面鑄有陽文「蕤賓」二字款帶，另一面鑄有陰刻文「乾隆八年製」，器身下部有八枚滿月形平頭音乳，用以擊打，間以祥雲紋飾，下口平齊。

高：21cm
重量：6.545千克
估價：$600,000-1,000,000美金
來源：蓋爾及唐納德∙斯圖德文特伉儷收藏， 加利福尼亞州， 洛斯蓋圖斯

参考：佳士得
9 11月 2015 | 现场拍卖 10377
重要中国瓷器及工艺精品
拍品 165 清康熙五十五年制 铜鎏金云龙纹【倍南吕】编钟
AN EXTREMELY RARE IMPERIAL GILT-BRONZE ‘DRAGON’ RITUAL BELL, BIANZHONG

An Extremely Rare Imperial Gilt Bronze Bell
Rosemary Scott, International Academic Director Asian Art.

This very rare gilt bronze bell is cast with a date of the 55th year of the Kangxi reign – equivalent to AD 1716, and would have been one of a carillon of 16 bells. Such bells were decorated either with dragons, as in the case of the current bell, or with the eight trigrams. The loop on the top of the bell – from which it would have been suspended on a frame – is cast in the shape of a dragon, depicted with a head at either end. This dragon is Pulao 蒲牢, one of the nine sons of the dragon, who was believed to be quite small in size but with a roar that could shake heaven and earth. Pulao was believed to roar particularly loudly when he saw a whale, and thus the instrument used to strike the bells is often shaped like a whale to suggest the loudest sound.

These magnificent bells would have been suspended in two tiers of eight, attached to a tall lacquered wooden frame, and were part of the assemblages required on certain formal occasions at court. The frame holding the bells was usually decorated at either end of the top horizontal beam with a dragon, while the vertical poles of the frame stood on felines. A carillon of these bells is depicted in a court painting by Guiseppe Castiglione (Lang Shining) entitled, ‘Imperial Banquet in Wanshu Garden’, (illustrated by Chuimei Ho and B. Bronson, Splendors of China’s Forbidden City, Chicago, London, 2004, p. 52, pl. 42). The Wanshu Garden was in the imperial palace at Chengde.

Another carillon of such bells can also be seen on the terrace in front of the Hall of Supreme Harmony in the Forbidden City, Beijing, in a scroll painting depicting the wedding of the Guangxu Emperor in 1889 (illustrated in Daily Life in the Forbidden City, Wan Yi, Wang Shuqing and Lu Yanzhen (eds.) Rosemary Scott and Erica Shipley (translators), Viking, Harmondsworth, England, 1988, pp. 46-7, pl. 61).

Bells of this type were known as bianzhong 编钟 and were usually assembled in sets of sixteen, providing twelve musical tones with four repeated notes in lower or higher octaves. The twelve Chinese musical tones are arranged in the following sequence: Huangzhong (黃鐘 1st), Dalu (大吕 2nd), Taicu (太蔟 3rd), Jiazhong (夾鍾 4th), Guxi (姑洗 5th), Zhonglu (仲呂 6th), Ruibin (蕤賓 7th), Lingzhong (林鐘 8th), Yize (夷則 9th), Nanlu (南呂 10th), Wuyi (無射 11th), and Yingzhong (應鐘 12th). In Chinese musicology, the twelve main tones alternately provide a Yang, positive, and Yin, negative notes. The four repeated bells of lower octaves, making up the total of sixteen, are Pei Yize, Pei Nanlu 倍南吕 , Pei Wuyi 倍无射, and Pei Yingzhong 倍应钟.

The current bell bears a cast inscription identifying it as Pei Nanlu 倍南吕 , The bells were arranged in accordance to their musical notes, which was determined by their thickness. The height of the bells in a set did not vary, only the thickness. The current bell was one of the heaviest and would have been hung from the lower horizontal beam of the frame, third from the right. The bells were cast from bronze then hand finished to achieve precisely the right pitch before being gilded. While a small number of similar bells are known, the heavier pei bells are very rare. Bells dating to the 52nd and 54th years of the Kangxi reign are also more frequently found than those dating to the 55th year, inscribed on the current bell. However, one other bell also decorated with dragons and dated to the 55th year of Kangxi, was included in the exhibition Treasures from the Palace Museum, Tokyo, 1982, cat.no. 3.

Bianzhong were essential in conducting Confucian ritual ceremonies at the Imperial altars and other state rituals, including ascension ceremonies when a new emperor took the throne, formal banquets and other court assemblies, and during processions of the Imperial Guard. They were part of a group of musical instruments that were required by court protocol to play the dignified music which formed an important part of such significant occasions. This music was divided into two types and played by two sets of musicians. One was the Zhonghe shaoyue 「中和韶樂」, which was known as the Eight Tones, since the sixteen types of musical instrument that took part were made from eight different materials – metal, stone, silk, bamboo, gourds, pottery, leather and wood. The Zhonghe shaoyue musicians and their instruments were usually placed within the area in which the ceremony was taking place. Zhonghe shaoyue music could also include singers. The frame from which the bells hung was placed to one side, and a frame from which hung sixteen jade bianqing chiming stones was placed on the other. The second group of musicians was associated with Danbi dayue 「丹陛大樂」 music and they were usually stationed within an appropriate gate. No singers accompanied Danbi dayue musicians.

Two sets of sixteen bells dated to the Kangxi reign and decorated with dragons in the Palace Museum, Beijing, have been published. The first set, dated to the 52nd year of the Kangxi reign (1713) was included in the 2004 Chateau de Versailles exhibition, Kangxi – Empereur de Chine, 1662-1722, and illustrated in the catalogue, p. 17, no. 2. Another set, slightly more angular and also dated to the 52nd year of Kangxi, was included in the 2006 Royal Academy of Arts exhibition, China – The Three Emperors, 1662-1795 and is illustrated in the catalogue, p. 123, no. 32.

A further complete carillon of 16 bells decorated with trigrams, rather than dragons, and dated to the 52nd year of Kangxi (1713), also in the Palace Museum, Beijing was included in the 1996-1997 Musee du Petit Palais exhibition, La Cite Interdite – Vie publique et privee des empereurs de Chine, 1644-1911, and illustrated in the catalogue, p. 171 no. 49. A pair of Kangxi bells with dragon decoration, dated to the 54th year, and inscribed as Jiazhong 4th tone and Wuyi 11th tone, were sold by Christie’s Hong Kong 27th May 2009, lot 1818. Two groups of five bells decorated with trigrams and dated to the Kangxi period from the C. Ruxton and Audrey B. Love collection, were sold at Christie’s New York, 20 October 2004, lots 455 and 456. The first, with an inscription dated to the 52nd of Kangxi (1713); bearing the 7th, 8th, 10th, 11th and 12th tones respectively. The second group dated to the 54th year of Kangxi (1715); bearing the 5th, 6th, 10th, 11th and 12th tones respectively. A Ruyi (11th) tone bell from the 52nd year of the Kangxi period from the Lord and Lady Hesketh Collection was sold at Sotheby’s Hong Kong, 9 October 2007, lot 1327, while another bell dated to the 54th year of Kangxi and inscribed Wushe (equivalent to A-sharp), was sold at Christie’s Hong Kong, 26 April 1999, lot 520. A similar carillon of sixteen bells dating to the Qianlong reign and preserved in the Forbidden City, Beijing, is illustrated in Daily Life in the Forbidden City, op. cit., p. 39, pl. 43. Another set of sixteen Qianlong bells, decorated with trigrams, is preserved in the Confucian Temple, Beijing (illustrated by Bruce Doar in ‘The Preservation of Beijing’s Confucian Temple’, Orientations, vol. 26, July/August 1995, p. 63). It has been noted that in 1741, the Qianlong Emperor set up a Music Division for court music and specified melodies of his choice for the various court functions that prevailed until the early 20th century (see Splendors of China’s Forbidden City, op. cit., p. 52).

A bell of dragon design, closely related to that of the current bell, dated to the 8th year of the Qianlong reign (AD 1743) and of Zhonglu, 6th, tone, was sold at Christie’s Hong Kong, 27 May 2008, lot 1540. Another Qianlong bell with dragon decoration, also dated to 1743, but of Nanlu, 10th tone, was sold by Christie’s Hong Kong, 3 June, 2015, lot 3119. The Qianlong bell is more rounded and is somewhat less condensed in design than on the present examples, but the depiction of the dragons and decorative bands compare very closely.

Two further comparable dragon-decorated bells, dated to 1744, are in the Palace of Fountainebleau, illustrated in Le Musee chinois de I’imperatrice Eugenie, 1994, p. 47 fig. 34. From the illustration, these bells appear to be incised with the characters, Nanlu, the 10th tone, and Yingzhong, the 12th tone. The Fountainebleau bells are cast with angular shoulders and the characters denoting their musical tones are incised, rather than cast, as on the present bell.

A gold Kangxi bell of similar design to the current bell, dated by inscription to the 54th year of the Kangxi reign, is in the collection of the Palace Museum, Beijing. This gold bell is inscribed 黄钟 huangzhong, indicating that it is the first in the musical sequence (illustrated in Zhongguo meishu quanji. Gongyi meishu bian, 10, Beijing, 1987, p. 92, pl. 176). A carillon of sixteen gold bells bearing the marks ‘Qianlong wushiwu nianzhi 乾隆五十五年制’ (made in 55th year of Qianlong reign, equivalent to AD 1790), is also preserved in the Palace Museum, Beijing (illustrated in The Complete Collection of Treasures of the Palace Museum – 57 – Treasures of Imperial Court, Hong Kong, 2004, pp. 6-7, no. 5). Being gold, rather than gilded bronze, they would not have produced clear notes when struck and were thus symbolic and for display, rather than for musical use. This gold carillon was given to the Qianlong Emperor by officials in celebration of his eightieth birthday.

It appears that the last Qing emperor, Puyi爱新觉罗·溥仪, used these bells as lien against a loan from Beijing’s Yanyue Bank北京盐业银行, but they were returned to the Palace in 1949 (discussed ibid, p. 6).

AN EXTREMELY RARE IMPERIAL GILT-BRONZE ‘DRAGON’ RITUAL BELL, BIANZHONG
KANGXI CAST MARKS, CORRESPONDING TO 1716, AND OF THE PERIOD

成交价 GBP 362,500
估价 GBP 300,000 – GBP 600,000

AN EXTREMELY RARE IMPERIAL GILT-BRONZE ‘DRAGON’ RITUAL BELL, BIANZHONG
KANGXI CAST MARKS, CORRESPONDING TO 1716, AND OF THE PERIOD

The bell is exquisitely cast with a handle shaped as a pair of dragons. Each beast is powerfully modelled with its mouth open to reveal its tongue between sharp fangs, with two long horns extending back over its head along a finely incised mane, and the large claws clutching the barrel-shaped body of the bell. The sides of the bell are finely cast in high relief around the mid-section, depicting two further dragons striding amidst cloud scrolls and waves clutching a flaming pearl, divided by two rectangular panels, one inscribed with the characters Kangxi wu shi wu nian zhi, ‘Made in the 55th year of Kangxi reign’, and the other with the characters pei (usually pronounced as bei) nan lu, indicating that this is one of the bells for lower octaves.
12 in. (30.5 cm.) high

来源
From a private German collection, acquired in the early 20th century.

参考：北京中鸿信
皇极—宫廷艺术专场
2019年07月16日
Lot 2434
清康熙 御制铜鎏金交龙钮编钟

估价 RMB 120,000-180,000

年代 清康熙
尺寸 高27.5cm
品类 金属器
描述 清康熙 御制铜鎏金交龙钮编钟
款 识：“康熙五十二年制”“仲吕”
说 明：清朝康熙皇帝隆重师儒，以周礼为蓝本，设计了一套用于天地、社稷、宗庙等祭祀大典以及大朝会、宴享、命将出师、临殿等朝廷盛事，乐部率和声署悬乐器于太和殿或郊坛、太庙、演奏“中和韶乐”，为国家大典礼乐之器。礼乐的演奏“以黄钟为宫，镈钟击以起乐，编钟从之”。《清史稿》志七十六·乐八：“编钟，范金为之，十六钟同虡 jù，应十二正律、四倍律， 夷则、南吕、无射、应钟各有倍律。阴阳各八。外形椭圆，大小同制，惟内高、内径、容积各不同。实体之薄厚，以次递增。第一倍夷则之钟，体厚一分三厘三豪，至第十六应钟之钟，体厚二分八厘四豪。簨虡sǔn jù涂金，上簨左右刻龙首，中、下二簨俱刻朵云，系金钩悬钟。两虡jù承以五采伏狮，下为趺，镂山水形。”此件鎏金编钟器形呈圆酒桶形，腹腰稍宽，下口平齐，顶饰交龙钮，龙背供起成孔，用于穿系。和战国时代编钟原型的扁圆而下口带角的造型颇不相同。康熙朝亦统一了编钟的大小，以钟壁的厚薄和重量来调节高低音调，有异于前朝以小钟发高音，大钟发低音的做法。依《清会典图》所记，发音最低的“倍夷则”重达清秤180两，而发音最高的“应钟”则达清秤380两，差别逾二倍之多。清代皇室注重祭祀礼乐，其以康熙一朝最为厚重庄严。康熙九年，康熙十三年，康熙五十四年，皆有重铸礼乐仪器之举动。清圣祖对于礼乐的崩溃与失传十分忧心，曾敕令诏修乐律文献，撰成《御制律吕正义》一书。康熙五十四年，为“立咏歌之准”，不但进一步完整编撰乐书，同时也对皇室重要祭祀场所的编钟等礼乐器进行了隆重的重铸活动。国子监现就存有同样的康熙五十四年编钟，亦见于《钦定国子监志》卷二十二·乐三”编钟，笵金为之，十六枚……纽为双龙，中为云龙文，近唇如满月者……前镌康熙五十四年制，后各镌律名。此钟保存完好，虽有磨耗，但鎏金整体金光辉映，令人想象到康熙时祭祀典礼全套齐悬在金漆雕木编钟架上时所展现的华贵及庄重。参 阅：北京故宫博物院藏一套“康熙五十二年审定”云龙纹的编钟。

佳士得香港有限公司
2009春季拍卖会
中国宫廷御制精品及中国瓷器工艺品
LOT号： 1818 清康熙 御制鎏金铜交龙钮云龙纹「无射」、「夹钟」编钟各一枚

参考：北京保利国际拍卖有限公司
北京保利2015春季拍卖会
鉴古集珍——宫廷陈设及工艺甄选
LOT号： 7823 康熙五十四年 御制铜鎏金交龙纽八卦纹钟

拍品信息
作品名称 康熙五十四年 御制铜鎏金交龙纽八卦纹钟
尺寸 应钟高31.1cm；蕤宾高31.5cm
估价 10,000,000-15,000,000
成交价 RMB 14,720,000

著录：
1.《THE ANTIQUE，ARTISTIC FYRNISHINGS OF THE CITY RESIDENCE OF MR.THOMAS B.CLARKE》，AMERICAN ART ASSOCIATION，INC
2.《延薰秀色——康熙瓷器与宫廷艺术珍品特展》，图Ⅶ－1
新闻记录：1925年纽约时报新闻记载，当时以750美元之天价成交，创当年单品成交记录。

“应钟” 康熙五十四年製 铭款
“蕤宾” 康熙五十四年製 铭款

清代时按古制于坛庙祭祀和殿陛典礼两类场合使用中和韶乐。而乐器的种类和配件非常讲究，以金、石、丝、竹、匏、土、革、木八类材料（又名“八音”）制造，凡十六种、多达六十多件。编钟属金属类中最具代表性的一系，而它的历史更可追溯至商代。据万依在《故宫博物院藏宝录》（香港1985年出版）的“金钟编”所述，除了1978年湖北随县出土的一套战国编钟达64件之多外，此后朝代的宫廷编钟多为16枚一套。到康熙时，虽仍保持着16枚一套的制度，但在音律的编排上略有改动。

两件鎏金编钟器形呈圆酒桶形，腹腰稍宽，下口平齐，和战国时代编钟原型的扁圆而下口带角的造型颇不相同。康熙朝亦统一了编钟的大小，以钟壁的厚薄和重量来调节高低音调，有异于前朝以小钟发高音，大钟发低音的做法。依《清会典图》所记，发音最低的“倍夷则”重达清秤180两，而发音最高的“应钟”则达清秤380两，差别逾二倍之多。钟身前后分铸“八卦”纹一组，横向以鼓钉，纵向以回纹分隔。两钟正面中央分别铸阳文楷书律名“應鐘”和“蕤賓”，背面铸年款“康熙五十四年製”。下方近口处铸八个“音乳”，作击打之用。保存完好，除少处磨耗外，鎏金整体金光辉映，令人想象到康熙时祭祀典礼全套齐悬在金漆雕木编钟架上时所展现的华贵及庄重。

同於康熙五十四年铸造的“太簇”编钟（Lot454）於香港苏富比1989年5月17日拍出。康熙五十二年铸造的编钟亦在苏富比的拍卖上出现，其中包括1956年纽约苏富比Lot40、Lot41，1978年伦敦苏富比“姑洗”编钟（Lot110），2007年香港苏富比八卦纹“无射”编钟（Lot1327）。北京故宫博物院内藏一套十六件铸雕云龙纹的编钟，只其年款略有不同，作“康熙五十二年审定”。

参阅：
1.《故宫博物院藏文物珍品大系·宫廷珍宝》P6
2.《大清盛世·沈阳故宫文物展》P158
3.《清宫生活图典》P292009年5月27日香港佳士得拍卖NO1818
来源：1.Thomas B.Clarke旧藏，1925.01.08，在纽约美术艺术画廊出售，拍卖号为216和217，之后由John Bond Trevor（1878-1956）和Bronson Trevor（1910-2002）收藏，Trevor家族旧藏。
2. 美国艺术画廊，古董及艺术陈设专场，1925.01.08，Lot216，Lot217
3. 香港佳士得，2009.12.01，重要中国陶瓷及工艺精品专场，Lot1942

参考：佳士得
27 11月 2012 | 現場拍賣 2963
重要中國瓷器及工藝精品
拍品 2253
A LARGE IMPERIAL GILT-BRONZE ARCHAISTIC RITUAL CHIME, BIANZHONG
3 THE PROPERTY OF A DISTINGUISHED HONG KONG COLLECTOR
清康熙 御製鎏金銅交龍鈕八卦紋「無射」編鐘 鑄《康熙五十四年製》楷書銘款
KANGXI CAST SEVEN-CHARACTER MARKS, CORRESPONDING TO 1715 AND OF THE PERIOD

成交價 HKD 4,700,000
估價 HKD 4,000,000 – HKD 6,000,000

清康熙 御製鎏金銅交龍鈕八卦紋「無射」編鐘 鑄《康熙五十四年製》楷書銘款
KANGXI CAST SEVEN-CHARACTER MARKS, CORRESPONDING TO 1715 AND OF THE PERIOD

細節
鐘圓體，中空，腰部稍大，小口齊平。頂飾交龍鈕，龍背供起成孔，用於穿繫。兩道弦紋把鐘分為三層，上層光素無紋飾；主體中層分為四個部分，每個部分內有三排鈕，鈕間高鑄八卦文，鐘腹兩側鑄夔龍拐子，上飾如意雲紋，正面鑄陽文「康熙五十四年製」銘款，背面鑄陽文「無射」楷書律名，上飾八卦圖。鐘下部鑄八個圓形音乳，以供敲擊之用。此鐘鑄於康熙五十四年，即1715（乙未）年。鑄造精細、嚴謹，盡顯皇家氣派。

編鐘是中國重要的樂器，也是重要的禮器。中國的禮樂制度從原始社會萌芽到先秦，發展到西周最後確立，成為當時人們的行為規範準則。據文獻記載和出土文物的研究，中國在西周時期出現的編鐘為三枚一組，春秋晚期以九枚一組的編鐘為多。1978年在湖北隨州市擂鼓墩鎮一座戰國時代（約公元前433年）的曾侯乙墓中出土了一套共65枚的青銅編鐘，其造型壯觀，配備齊全，音列充實，音頻準確，堪稱中國古代編鐘之最，現藏湖北省博物館。

清朝康熙皇帝隆重師儒，以周禮為藍本，設計了一套用於天地、社稷、宗廟等祭祀大典以及大朝會、宴享、命將出師、臨殿等朝廷盛事，樂部率和聲署懸樂器於太和殿或郊壇、太廟、演奏「中和韶樂」，為國家大典禮樂之器。禮樂的演奏「以黃鐘為宮，鎛鐘擊以起樂，編鐘從之」。一組編鐘十六枚，外形和大小相等，分兩層懸掛於木架之上，它的音色以黃鐘為準，由低至高依次為黃鐘、大呂、太簇、夾鐘、姑洗、仲呂、蕤賓、林鐘、夷則、南呂、無射、應鐘，以及四個低音倍夷則、倍南呂、倍無射、倍應鐘。

此枚編鐘曾於1999 年4 月26 日香港佳士得拍賣，拍品520 號。

來源
Sold at Christie’s Hong Kong, 26 April 1999, lot 520

拍品專文
The two characters Wuyi denote a classical pitch corresponding in function to A-sharp in Western musicology.

Heavily cast gilt-bronze bells of this type, known as bianzhong, took their inspiration from archaic bronzes of the Western Zhou dynasty (1100-771 BC). The best known archaic prototypes are those excavated from the tomb of the Marquis Zeng, now in the Hubei Provincial Museum, illustrated by Lothar von Falkenhausen, Suspended Music: Chime Bells in the Culture of Bronze Age China, California, 1993, p. 6, fig. 1. By the Qing dynasty, the imperial court closely followed Confucian ideals as set out in ancient Chinese classics such as the Book of the Zhou, Zhou Li, which advocated that rituals should commence with music. In the Qing dynasty, bianzhong were produced for the court and became an essential part of court ritual musical instruments. They were played during ceremonies at the imperial altars (in particular, the Temple of Heaven and Temple of Agriculture) and during formal banquets and state rites.

The present bells are part of a graduated set of sixteen, each of which are cast with varied thicknesses to provide a range of twelve standard musical tones with four additional repeated notes in lower octaves. Each of the twelve principal Chinese musical characters are cast to one side of each bell, opposite the reign mark, and together they appear in the following sequence: 1st, Huangzhong; 2nd, Dalu; 3rd, Taicu; 4th, Jiazhong; 5th, Guxi; 6th, Zhonglu; 7th, Ruibin; 8th, Lingzhong; 9th, Yize; 10th, Nanlu; 11th, Wuyi (as cast on the present bell) ; and 12th, Yingzhong. In Chinese musicology, the twelve main tones alternately provide a Yang, positive, and Yin, negative note. The four repeated bells of lower octaves, thus making up the total of sixteen, are Pei Yize, Pei Nanlu, Pei Wuyi, Pei Yingzhong.

Further research on these Kangxi ritual bells indicates that there are at least four sets of bells in private collections: two sets of which are dated to the 52nd year of Kangxi reign, and two sets dated two years later, 54th year. From the known group of bells made in the 54th year of Kangxi: cf. a single bell bearing the third standard tone,5 Taicu, sold at Sotheby’s Hong Kong, 17 May 1989, lot 454; and five bells from the Audrey Love Collection were sold at Christie’s New York, 20 October 2004, in a single lot 456 (the bells respectively denoting 5th, 6th, 9th, 10th tones with a low octave Pei Yingzhong).

参考：香港蘇富比拍卖有限公司
2010秋季拍卖会
瑰辞神笔–重要私人清宫御制工艺珍藏
LOT号： 2105 清康熙 御制鎏金铜交龙钮八挂纹「黄钟」扁钟

拍品信息
作者 —
尺寸 31cm
作品分类 工艺品杂项>钟表
创作年代 清康熙
估价 HKD 　6,000,000-8,000,000
成交价 RMB 　6,303,060 HKD 　7,220,000 USD 　924,160 EUR 　722,000
专场 瑰辞神笔–重要私人清宫御制工艺珍藏
拍卖时间 2010-10-07
拍卖公司 香港蘇富比拍卖有限公司已开通官网
拍卖会 2010秋季拍卖会

说明 《康熙五十四年制》款

清代时按古制于坛庙祭祀和殿陛典礼两类场合使奏用中和韶乐、而乐器的种类和配备非常讲究。编钟属金属类中最具代表性的一系。制度上、清朝继承历来沿用的16枚一套的制度、但音律的编排上略有改动：原有的十二律由低到高依次是：黄钟、大吕、太簇、夹钟、姑洗、仲吕、蕤宾、林钟、 夷则、南吕、无射、应钟。康熙年间以四个倍律(低音)、倍夷则、倍南吕、倍无射和倍应钟、取代沿用的四个清声(高音)。于郎世宁等多位宫廷画家合绘的清乾隆「万寿园赐宴图轴」（见《故宫博物院藏文物珍品全集14(清代宫廷绘画)》、1996年、香港、编号37、或The Field Museum, “Splendors of China’s Forbidden City,The Glorious Reign of Emperor Qianlong”、芝加哥、2004年、编号101）中、可见十六枚大小相同、但壁厚不一的铜钟、均分二组八个挂于木制二层钟架上作演奏。这种形制的鎏金铜龙钮「八卦」编钟、应有不少于四组曾在康熙朝内铸制、分别为康熙五十二年及五十四年之各二组。相信它们是作为北京先农坛祭祀典礼中奏礼乐使用。历年来有数枚来自后二组、带「康熙五十四年制」铸款的编钟先后现身拍场、如
香港苏富比2010年4月8日、编号1858的「应钟」、
香港佳士得2009年12月1日、编号1942的「应钟」「蕤宾」、
纽约佳士得2004年10月20日Andrey B. Love收藏内两组各五枚（编号455及456）、
纽约苏富比1997年3月19日、编号25的「太簇」、及
香港佳士得1999年4月26日、编号520之「无射」等。

于康熙五十二年铸造的「八挂」纹编钟亦曾在苏富比的拍卖上出现、如纽约苏富比1975年4月24日之编号240、及两枚于香港苏富比售出例子、包括2007年10月9日之编号1327、和1979年5月17日之编号454。

参考：佳士得
8 6月 2021 | 现场拍卖 19974
亚洲艺术
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
拍品 55 明 鎏金銅海水雲氣紋編鐘
RARE CLOCHE RITUELLE EN BRONZE DORE, BIANZHONG
CHINE, DYNASTIE MING (1368-1644)

細節

明 鎏金銅海水雲氣紋編鐘
CHINE, DYNASTIE MING (1368-1644)
Hauteur: 28 cm. (11 in.)
Poids: 18,560 kg.

成交價 EUR 800,000
估價EUR 400,000 – EUR 600,000

狀況報告
We have sought to record changes in the condition of this piece acquired after its initial manufacture.
The bell is in good overall condition.
There is a hole drilled on the top section near the handle.
There are some minute surface indents/scratches and some tiny wears to the gilding as can be expected.
RARE CLOCHE RITUELLE EN BRONZE DORE, BIANZHONG
CHINE, DYNASTIE MING (1368-1644)

RARE CLOCHE RITUELLE EN BRONZE DORE, BIANZHONG
CHINE, DYNASTIE MING (1368-1644)
Les côtés sont légèrement renflés, elle est surmontée d’une arche de nuages stylisés formant la prise pour la suspendre, chaque face est décorée de cinq registres horizontaux de nuages, vagues et rivets en relief alternés, encadrant une tablette verticale bordée de ruyi. La partie supérieure est ornée d’une frise de nuages, tortue et phénix, des cartouches de dragons dans les nuages sur les côtés et une bande de petits nuages en volutes stylisés souligne la base. Le dessus de la cloche est orné de deux couples de phénix.

Hauteur: 28 cm. (11 in.)
Poids: 18,560 kg.

来源

倫敦佳士得，1966年3月21日，拍品171號
Christie’s London, 29 March 1966, lot 171.
拍品专文

蘇玫瑰 佳士得亞洲藝術資深學術顧問此器為中國傳統敲擊樂器「編鐘」，以鎏金銅御製，非常華美，極為珍罕。鐘身呈橢圓形，通體高浮雕紋飾，鑄工非凡，精緻細巧，前後飾蓮花座承牌匾，典雅堂皇；兩側飾五爪龍趕珠紋，姿態猛勁，栩栩如生。間綴五周卷雲、波浪及乳丁紋，頂部兩邊各飾一鳳一鶴，鈕呈連拱形，縷空部分作懸掛之用，頂端中心巧鑄縝密雲朵。 編鐘受儒家禮樂影響，屬宮廷音樂重器，不論皇帝登基，臨朝聽政，抑或大型盛宴，官府升堂，乃至閲兵慶典，都會用以集臣和歌，是宮內必備的金樂之首。編鐘多為一組十六枚，根據中國傳統樂律之十二本律及四倍律，以陰陽各八音為音階格式編製。十二律由低至高依次為「黃鐘」（第一律）、「大呂」（第二律）、「太蔟」（第三律）、「夾鍾」（第四律）、「姑洗」（第五律）、「仲呂」（第六律）、「蕤賓」（第七律）、「林鐘」（第八律）、「夷則」（第九律）、「南呂」（第十律）、「無射」（第十一律）及「應鐘」（第十二律）。傳統樂律又有陰陽之分，奇數為「陽律」，偶數稱「陰呂」，各佔六音，前後相間，合組為「十二律呂」。十六枚編鐘分上下兩層均距排列，懸掛在專稱為「虡 jǔ」的鐘架之內，餘下四鐘位列下層，發四倍律，分別為「倍夷則」、「倍南呂」、「倍無射」及「倍應鐘」。

編鐘沒有鈴舌，懸於架上，以木槌敲擊發聲。編鐘經常與編磬同場合奏。編磬由石或玉製，以絲線排列架上，同用木槌敲擊。

編鐘統領中國宮廷樂器數千年，歷久不衰。音樂的文化意義更是源遠流長，無遠弗屆。《論語．泰伯》 ：「興於詩，立於禮，成於樂。」儒家宗師孔子（公元前551至427年）認為音樂可以調和性情，教化萬民，在社會上的角色極其重要。其後在公元前三世紀，同擅儒學的思想家荀子（約公元前298至公元前238年）深信脩樂可道志，音樂能夠「感動其善心」，認為明君可以透過適當的音樂對臣民發揮影響，而禮樂就是君主治國的不二竅門。始於周代的樂器分類「八音」，在《周禮》（公元前三世紀）及《書經》均有記載，依製作材料分為金、石、絲、竹、匏、土、革、木八類，與象徵宇宙結構的「八卦」呼應。又稱《尚書》的《書經》，連同《詩經》、《禮記》、《易經 》、《春秋 》五部儒家經典，合稱「五經」。部分文史學家如漢代司馬遷（約公元前145 至公元前86年 ）表示還有第六經《樂經》。《樂經》相傳亡於秦火，即受秦始皇三十四年（公元前213年）「焚書坑儒」所毀，亦有謂本無其書，存在與否眾說紛紜。無論如何，禮樂受儒家學說推崇備至，影響深遠。古代掌管音樂的機關「樂府」，成於漢代（公元前一世紀），職掌製定樂譜，採集民間詩歌，以各種形式營運至漢末。

《禮記》不僅是儒家五經之一，也是「三禮」之一，是戰國晚期（公元前五世紀至公元前221年）至西漢時期（公元前206年至公元8年）出現的一部「禮學」文集。《禮記．禮器》：「禮也者，反其所自生；樂也者，樂其所自成。是故先王之制禮也以節事，修樂以道志。故觀其禮樂，而治亂可知也。」禮樂可以移風易俗，教化人民，甚至治理國家。此後數百年來，這觀點長久反映在宮廷音樂中。

另一部儒家經典《孝經》描述禮樂與孝道的關係，道理一脈相承。疑書於漢初的《孝經》，記錄了孔子與弟子曾子（公元前505至公元前435年）的對話。《孝經‧開宗明義章》：「夫孝，始於事親，中於事君，終於立身。」孔子對曾子闡析孝道要義，指出人民若能從孝順父母推演至忠君愛國，社會則可趨向和諧。北宋畫家李公麟（公元1049–1106年）所繪之〈孝經圖〉卷，現藏於紐約大都會博物館，第十六章引《孝經》原文「宗廟致敬，不忘親也」。畫中可見祭司陪同皇帝與皇后謁陵祭祖，廟堂兩則擺放著編鐘及編磬。據說畫卷作於北宋元豐八年（1085年），即神宗（1067–1085年在位）與哲宗（1085–1100年在位）交接之年。臺北故宮博物院藏《孝經》同一章節畫卷，構圖較為嚴謹，用色更加豐富，曾推斷由宋高宗（ 1107–1187年）題字，馬和之（活躍於1131–1189年）繪畫，現被博物館定為十三世紀作品。這些畫作皆記錄了編鐘及編磬，證明古代帝皇祭祖與禮樂儀式息息相關。值得留意的是，兩幅宋代畫作所錄的編鐘尺寸均等，與現存明清兩代所製編鐘情況相符。雖然編鐘看來大小相同，然而厚度不一，因而能夠發出各種音調。中國銅鐘歷史悠久，可追溯至青銅時代，現今有多個遺址可證，包括著名的商代武丁皇帝（公元前1250 至公元前1192 年在位）妃子婦好之墓。該墓位於殷墟，在1976年出土，內藏23件形似鈴的「鐃」鐘。然而，迄今所見最為壯觀的一套早期編鐘，固然是1978年出土，位於湖北省隨縣擂鼓墩的曾侯乙墓葬。該墓大概建於公元前433年，葬有非常精美的青銅器和漆器。內藏一套65件銅鐘，包括64件編鐘和一件體形碩大的「鎛」鐘。64件編鐘懸掛在漆製鐘架上，以由青銅支撐，按大小和音高為序編成八組，分三層排列。 估計此套編鐘需由五名樂師同時演奏。視乎木槌敲擊位置而定，各鐘可發音調兩種。由此可見，早於周代已出現如此宏偉華麗的編鐘，作為當時宮廷禮樂的演奏器具。禮樂自古地位超然，歷代定必有專屬的政府機構主持宮廷音樂事務。明代設立的「教坊司」，先後隸屬禮部及掌管宗廟禮儀的「太常司」。古代郊廟朝會所用的正樂又稱「雅樂」 ，始於儒家經學昌盛的周代，在往後各朝不斷復興，迄今所知最早的相關文獻則記於唐代（618–907年）。在一級和二級祭典，以及新年、冬至與皇室成員生辰之三大朝會中演奏的音樂名為「中和韶樂」。「韶」相傳為古代虞舜時期的樂曲名稱，「中和韶樂」則始於明代洪武年間 （1368–1398年）。洪武皇帝對明代宮廷禮樂的發展功不可沒，設立四大音樂機構，不僅負責制定祭祀、宴享用樂，更專責主持宮廷婦女和太監的音樂。

愛新覺羅努爾哈赤（1559–1626年）於 1616年稱汗，建立後金，建元天命。他採納漢族皇帝出行時的儀仗「鹵簿」，在1623年、1632年和1634年的祭天儀式和新年慶典，均用上禮樂演奏。1636年所錄的後金儀仗規格列有84名樂師和15種音樂。滿人入關進京後，馬上要求明宮倖存的樂師演奏「大樂」，同時祭天，象徵改朝換代。《清實錄》記載滿人首次祭天時演奏明代音樂，而在清代初年，所有祭祀音樂都承襲明代典章，稍加變化而成。傳世與本編鐘相似的例子錄有若干。北京天壇現陳列著一件造型與本品一致、尺寸略小的明代編鐘。據說此鐘連同其他宮廷瑰寶於1901年被人從天壇移走，後來由一名隸屬第二孟加拉步兵隊的英國軍官James A. Douglas存放在印度某軍官俱樂部，及至1994年才由B. C. Joshi將軍送回中國。此編鐘於1995年4月21日在北京天壇展出。 2010年6月，一例經巴黎蘇富比拍賣，其敲擊板佚失。2016年5月，另一同欠敲擊板的例子經蘇格蘭Lyon & Turnbull拍賣。 2015年3月，美國Freeman’s拍賣了一件尺寸、造型相若的完整編鐘，同年9月，再拍出一對類似例子。本編鐘與1966年3月21日經倫敦佳士得拍賣一例如出一轍，拍品編號171。在世界各國的博物館收藏中，涵蓋若干清代康熙和乾隆年製例子，包括北京故宫博物院藏一套完整十六件乾隆年製編鐘，載於《Daily Life in the Forbidden City》（《清宮生活圖典》），萬依、王樹卿及陸燕貞編，蘇玫瑰及Erica Shipley譯，維京出版，哈蒙茲沃斯，英國，1988年，頁39，圖版43。 少數見於拍賣會，如2020年1月經巴黎Tessier and Sarrou拍賣的康熙編鐘，銘刻「康熙丙申年製」六字款，相對於公元1716年。 歐洲私人珍藏

AN IMPORTANT RITUAL GILT BRONZE BELL, BIANZHONG
CHINA, MING DYNASTY (1368-1644)

A Rare and Important Imperial Gilt Bronze Bell

Rosemary Scott, Senior International Academic Consultant, Asian Art

This extremely rare imperial gilt-bronze bell is of the type known as bianzhong 「編鐘」. It is finely cast in high relief and of oval section with a plaque mounted on a lotus stand front and back, and a vigorous five-clawed dragon chasing a flaming pearl on each side. Bands of clouds or waves and bosses encircle the bell, while on the flattened upper surface of the bell a crane and phoenix are cast on either side of the arches, which protrude from the top as if from waves, and from which the bell would have been suspended. The largest of these arches is decorated with dense clouds.

Music with bianzhong bells, was regarded as essential in conducting Confucian rituals at the Imperial altars and other state ceremonies, including ascension ceremonies when a new emperor took the throne, formal banquets and other court assemblies, and during processions of the Imperial Guard. Such bells were usually assembled in sets of sixteen, providing twelve musical tones with four repeated notes in lower or higher octaves. The twelve Chinese musical tones are arranged in the following sequence: Huangzhong (1st), Dalü (2nd), Taicu (3rd), Jiazhong (4th), Guxi ( 5th), Zhonglü ( 6th), Ruibin ( 7th), Linzhong ( 8th), Yize ( 9th), Nanlü ( 10th), Wuyi ( 11th), and Yingzhong ( 12th) 「黃鐘」（第一律）、「大呂」（第二律）、「太蔟」（第三律）、「夾鍾」（第四律）、「姑洗」（第五律）、「仲呂」（第六律）、「蕤賓」（第七律）、「林鐘」（第八律）、「夷則」（第九律）、「南呂」（第十律）、「無射」（第十一律）及「應鐘」（第十二律）. In Chinese musicology, the twelve main tones alternately provide yang ?, positive, and yin ?, negative, notes. The four repeated bells of lower octaves, making up the total of sixteen, are Bei Yize, Bei Nanlü, Bei Wuyi, and Bei Yingzhong 「倍夷則」、「倍南呂」、「倍無射」及「倍應鐘」. These bianzhong bells are clapperless and were played by being hung on racks and struck with a wooden mallet to produce the appropriate sound. The racks of bells were frequently paired with racks of qing ?chiming stones or lithophones, which were played by suspending them on a silk cord and striking them with a wooden mallet.

Bells played an important part in formal Chinese court music over many centuries, while music itself was regarded as of great significance.

‘Music and dance are such important elements of political life that they should not be squandered on entertainment’.

This statement is attributed to Confucius (Kong Fuzi 孔子, 551 to 427 BC), who believed that music had an extremely important role in society. The later, 3rd century BC, Confucian philosopher Xunzi (荀子, c. 298 – 238 BC) professed the view that a wise ruler could influence his subjects by ensuring that they listened to appropriate music. He was of the opinion that musical tones were based on the responses of the human heart to external stimuli. Ritual and music came to be regarded as twin instruments of government.

In the Zhou dynasty Chinese scholars developed a classification system for musical instruments. This system, which appears in the 3rd century BC Zhouli (周礼 Rites of Zhou) and also in the Shujing (書經 Classic of History) is known as the bayin (八音 eight tone) and is based upon the resonating materials from which the instruments were made – skin, clay, metal, stone, gourd, wood, silk, and bamboo. This division into eight categories complemented cosmological assumptions and concepts like the ‘eight compass points’ and the ‘eight trigrams’ (八卦 bagua). The Shujing is regarded as one of the Five Confucian Classics (Wu jing 五經), along with the Shijing (詩經 Classic of Poetry), the Liji (禮記 Book of Rites), the Yijing (易經 Book of Changes) and the Chunqiu (春秋 Spring and Autumn Annals). Some writers, such as the Han dynasty historian Sima Qian (司馬遷 c. 145 – c. 86 BC), referred to a sixth classic, the Yuejing (樂經 Classic of Music), which they believed to have been destroyed in the notorious ‘burning of the books and burying of the scholars’ 焚書坑儒 fengshu gengru, supposedly carried out in 213 BC on the orders of Qin Shi Huang. There is debate as to whether the Yuejing actually existed, but it is nevertheless significant that music was regarded as of sufficient importance to have been the subject of one of the Confucian classics. It certainly appears to have been the case that as early as the 1st century BC, during the Han dynasty, the Yuefu 樂府 – Imperial Music Bureau – was established, and this office, in various incarnations, continued to the end of the imperial era.

The Liji (禮記 Book of Rites), which in addition to being one of the Five Confucian Classics was one of the Three Ritual Classics (三禮Sanli), was a compilation of descriptions of rituals written during the late Warring States (5th century-221 BC) and the Western Han period ( 206 BC-AD 8). This text noted the Confucian principle that ceremonies and music were among: ‘the instruments by which the minds of the people are assimilated, and good order in government made to appear’. This view continued to be reflected in court music down the centuries. It is, therefore, not surprising to see ritual music portrayed in depictions of another famous Confucian text, the Classic of Filial Piety.

The Classic of Filial Piety (Xiaojing 孝經), the text of which was probably written during the early Han dynasty, purports to relate a conversation between Confucius and one of his students Zengzi (曾子 505–435 BC), in which Confucius advises on the correct way to behave towards a senior person, such as a parent. The main thrust of the text is that if a person honours and serves their parents, then they will also honour and serve their ruler, and this will lead to a harmonious society. In one section of a handscroll by the Northern Song painter Li Gonglin 李公麟 (AD 1049-1106) – now in the collection of the Metropolitan Museum, New York – the artist illustrates chapter 16 of the Classic of Filial Piety. Li Gonglin chose to illustrate the part of the chapter which says: ‘In the ancestral temple he manifests the utmost reverence, showing that he does not forget is parents.’ Here the emperor, accompanied by the empress and an ‘officer of prayer’, is shown performing sacrifices to his ancestors, and, in the foreground, can be seen the racks of bells and the racks of chiming stones which would have provided some of the music to accompany this important ritual. It is thought that this painting dates to AD 1085, the year which marked the death of Emperor Shenzong (神宗. 1067–1085) and the accession of Emperor Zhezong (哲宗. 1085–1100). The same section of the Classic of Filial Piety is depicted on a more formal and colourfully rendered painting in the collection of the National Palace Museum, Taipei. It was previously believed that the calligraphy on this was that of Emperor Gaozong (宋高宗 AD 1107-1187) himself and that the painter was Ma Hezhe (馬和之. AD 1131-1189), but the National Palace Museum now dates the work to the 13th century. Nevertheless, the racks of bells and chiming stones are very much in evidence for the performance of this important sacrifice to the imperial ancestors. Three of each are shown. It is interesting to note that on both these Song dynasty paintings the bells all appear to be of the same size. This is also the case with surviving Ming and Qing dynasty bianzhong bells, where it is clear that although the bells all appear to be the same size, they are in fact of different thicknesses and it is this which determines their different tones.

Bronze bells have a very long history in China and have been found at a number of Bronze Age sites, including the famous Shang dynasty tomb of Lady Fu Hao 婦好, who was consort to King Wu Ding (武丁皇帝. 1250 – 1192 BC). When her tomb was excavated in 1976 it was found to contain 23 bronze bells of the type known as nao ?bells. However, the most magnificent set of early bells was excavated in 1978 from the tomb of Marquis Yi of Zeng 曾侯乙 at Leigudun, Suixian in Hubei province. This tomb dates to about 433 BC and contained particularly fine bronzes and lacquers. Among the most spectacular finds from this tomb is a set of 65 bells, comprised of 64 bianzhong and one bo bell. The set of 64 bells was mounted on lacquered wooden frames supported by elaborate bronze mounts. They are hung at 3 levels and divided into 8 groups. It has been estimated that it would have taken 5 musicians working simultaneously to play this set of bells. All the bells produce two tones, depending on where they are struck with the wooden mallet. Thus, there is material evidence that in the Zhou dynasty there was already an established tradition of extravagant racks of bells, which could be played for court rituals – a tradition which was continued to the end of the imperial period.

Not surprisingly, there were special government agencies responsible court music. In the Ming dynasty, the Music Office (Jiaofansi) was established under the auspices of the Board of Rites, and later the Court of Imperial Sacrifices (Taichangsi 「太常司」). The music performed for imperial sacrifices and court assemblies was known as yayue 「雅樂」 (elegant music), and this term specifically alluded to the music of the Confucian golden age (the Zhou dynasty), which each later dynasty in turn claimed to be reviving – although the earliest documents providing details of yayue appear to date to the Tang dynasty (AD 618-907). The type of music performed during sacrifices at the first and second rank altars, and at the three major court assemblies – for the New Year, at the winter solstice and on imperial birthdays – was known as zhonghe shaoyue 「中和韶樂」. The name referred to the shao (beautiful/harmonious) music associated with the legendary Emperor Shun, although the name zhonghe shaoyue first seems to have appeared in the early Ming dynasty, during the Hongwu reign (1368-98). Indeed, the Hongwu Emperor was pivotal in the shaping of Ming dynasty court music and set up four court music offices. The most important of these was the State Sacrificial Office, while the others were responsible for Eunuch Music, Entertainment Music, and Palace Women’s Music.

It seems likely that when Aisin Gioro Nurgaci 愛新覺羅努爾哈赤 (AD 1559-1626), declared himself khan and heir to the Jin dynasty in 1616 he adopted Chinese court music as well as the display of imperial regalia (lubu 「鹵簿」). Certainly, there were orders issued for ritual music to accompany the sacrifice to Heaven and the New Year rituals in the years 1623, 1632 and 1634. In 1636 regulations for the imperial equipage listed 84 musicians and the playing of 15 kinds of music in the imperial processions. After they ‘crossed the wall’ and entered Beijing, the Manchus of the newly established Qing dynasty speedily sought the services of the surviving members of the Ming court music groups to perform the dayue (「大樂」) Great Music necessary for the conquerors’ symbolic demonstration of the beginning of the new dynasty – their first sacrifice to Heaven. The account of the Manchus first sacrifice to Heaven in the Veritable Records makes it clear that Ming music was played, and in the first part of the Qing dynasty all the ritual music was comprised of variations on Ming ritual music.

A small number of bianzhong bells similar to the current example are known. A Ming dynasty bell of identical design, but slightly smaller size, than the current instrument is now displayed in the Temple of Heaven, Beijing. It has been reported that this bell, amongst other treasures, was removed from the Temple of Heaven in 1901, and that it was later deposited by a British officer, James A. Douglas, of the 2nd Bengal Lancers, in an Officers’ Club in India, where it remained until 1994, at which time it was returned to China by General B. C. Joshi. The bell went on display in the Temple of Heaven on 21 April, 1995. In June 2010 a similar bell, which was missing its striking plates, was sold by Sotheby’s Paris, and in May 2016 a similar bell, also devoid of its striking plates was sold by Lyon & Turnbull. In March 2015 a complete bell of the same size and design as the current bell was sold by Freeman’s, and in September of the same year a pair of similar bells were sold by the same auction house. The current bell appears to be the same one sold by Christie’s London on 21 March 1966, lot 171.

Several bianzhong bells dating to the Kangxi and Qianlong reigns of the Qing dynasty are known in international museum collection, including a complete set of sixteen bells dating to the Qianlong reign, preserved in the Forbidden City, Beijing (illustrated in Daily Life in the Forbidden City, Wan Yi, Wang Shuqing and Lu Yanzhen (eds.) Rosemary Scott and Erica Shipley (trans.), Viking, Harmondsworth, England, 1988, p. 39, pl. 43), and a small number have also appeared at auction, such as the Kangxi bell dated by inscription to 1716 sold by Tessier and Sarrou, Paris, in January 2020.

Chinese Ceramics & Works of Art

浏览状况报告
The bell is in good overall condition.

拍品专文
This magnificent bell is impressive for its crisply cast decoration and lavish gilding. Modelled after Zhou dynasty archetypes, bells of this type were known as bianzhong and were essential in conducting Confucian ritual ceremonies at the Imperial altars, formal banquets and during processions. Usually employed together with complementary jade chimes (qing), the struck tones of this bells had cosmological significance and were considered a means by which to summon the immortals. The harmony and pitch of the tones also served as a reminder of the importance of consonance and order and therefore as a mirror on society.

During the reign of the Qianlong Emperor, gilt-bronze bells of this type were assembled in sets of sixteen producing twelve musical tones, with four tones repeated in a higher or lower octave. Cast in equal size but varying thickness, these bells were set in two rows and attached to tall elaborate wooden frames as depicted by Giuseppe Castiglione (1688-1766) in his painting Imperial Banquet in Wanshu Garden, included in the exhibition Splendors of China’s Forbidden City. The Glorious Reign of Emperor Qianlong, The Field Museum, Chicago, 2004, cat. no. 101.

See another bell of the same type sold at Sotheby’s Paris, 9th June 2010, lot 43. For a complete set of bells see one cast from gold, dated to 1791, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Treasures of Imperial Court, Hong Kong, 2007, pl. 5.

亚洲艺术

参考：香港萬昌斯 拍賣編號 17412A
2017年11月28日 – 11:00 am
萬麗海景酒店 香港灣仔港灣道1號
拍賣品 5285
御製銅鎏金「蒲牢」鈕「雲龍趕珠」紋「倍夷則」編鐘
清康熙五十五年（1716）《康熙五十五年製》款

成交價 HKD 1,680,000

拍賣詳情

拍賣品描述
高 30.4 cm (12 in)

來源: 日本住友家族舊藏

清朝入關後學習漢族文化，尊崇儒家禮樂制度，以音律為戒，沿襲舊制，但凡宮廷儀式、饗神祭孔、宗廟祭祀、宴饗節慶，皆奏禮樂。通過撞擊編鐘、鳴響相應韻調，照明天子之威儀，有關清宮演奏禮樂之勝景，可見郎世寧與丁觀鵬約1755年所繪《萬樹園賜宴圖》，著錄於C.Ho及B.Bronson，《Splendors of China’s Forbidden City: The Glorious Reign of Emperor Qianlong》，芝加哥，2004年，頁92-93，編號101。

此類編鐘之原型，可見1978年湖北隨縣曾侯乙墓出土的一套六十四枚戰國編鐘，著錄於L.von Falkenhausen，《Suspended Music: Chime Bells in the Culture of Bronze Age China》，加利福尼亞，1993年，頁6，圖1。戰國以後，各朝代的宮廷編鐘通常為十六枚，應十二本律及四倍律，陰陽各八。此御製銅鎏金編鐘本為一虞十六枚編鐘其中之一枚。至康熙時仍保持十六枚一虞制度，其十二律由低至高依次是：黃鐘、大呂、太簇、夾鐘、姑洗、仲呂、蕤賓、林鐘、夷則、南呂、無射、應鐘。康熙年間，用四個倍率（低音）取代之前沿用的四個清聲（高音），分別為：倍夷則、倍南呂、倍無射、倍應鐘。康熙朝亦統一了編鐘的大小，以鐘壁的厚薄和重量來調節高低音調，有異於前朝以小鐘發高音，大鐘發低音的做法。依《清會典圖》所記，發音最低的「倍夷則」重達清秤一百八十兩，而發音最高的「應鐘」則達清秤三百八十兩，差別逾二倍之多。於郎世寧等多位宮廷畫家合繪的清乾隆《萬壽園賜宴圖軸》（見《故宮博物院藏文物珍品全集14（清代宮廷繪畫）》，1996年，香港，編號37或The Field Museum，《Splendors of China’s Forbidden City, The Glorious Reign of Emperor Qianlong》，芝加哥，2004年，編號101）中，可見十六枚大小相同但壁厚不一的銅鐘，均分二組八個掛於木製二層鐘架上作演奏。

此編鐘，銅鑄鎏金。平舞上鑄蒲牢形鈕。蒲牢為傳說中龍生九子之一，受擊就大聲吼叫，因此多用於作編鐘之獸鈕。此件編鐘之蒲牢鑄造精美，五官及鱗片極為細緻，格外傳神。鐘體滿鏨浮雕紋飾，上層如意卷雲紋，流動之姿，聚散有秩，滿佈一周。中層雙龍戲珠鋪海水雲紋地，二龍首尾相連，雙目炯炯，其口擴張，昂首姿態，鬚髮後揚；其身飛騰，舒卷勁力，有鱗鰭高豎，生鋒爪利，赫赫威嚴；身前滾圓明珠，騰火升起，耀閃明輝，為一爪緊握，足見雙龍之浩繁氣勢。龍周有卷雲團團，烈火冉冉，海浪澎湃，隆隆呼聲，陣陣入耳，想見雙龍踏雲沐火之勢。雙龍間隔處，一面鑄陽文律名「倍則夷鐘」，另一面鑄「康熙五十五年製」楷書款，下部鑄八個音乳，供敲擊之用。此件銅鎏金鐘，造型古樸厚重，製作精良，氣勢宏偉，色澤富麗堂皇，紋飾細膩精緻，浮雕跌宕起伏，器形呈圓酒桶形，腹腰稍寬，下口平齊，無不顯示清朝康熙盛世莊嚴、華貴的皇家風範。

此枚編鐘來歷亦十分清晰，是日本住友家族舊藏，由日本住友財團1925年收入收藏。住友春翠為晚清民國時期日本的青銅器收藏大家，其最為著名的藏品當為1917年收入的陳介祺曾收藏的編鐘十鐘，現藏於東京泉屋博古館。

相關成交記錄：

近年來市場上康熙年製的編鐘以八卦紋為多，雲龍紋十分罕見。

較為著名的有2009年5月27日香港佳士得春季拍賣會編號1818的清康熙御製鎏金銅交龍鈕雲龍紋「無射」、「夾鐘」編鐘各一枚，以4,546萬港元成交。

其餘八卦紋款編鐘分別為，康熙五十四年鑄造的「太簇」編鐘（編號454）於香港蘇富比1989年5月17日拍出。康熙五十二年鑄造的編鐘亦曾在蘇富比的拍賣上出現，其中包括1956年紐約蘇富比編號40、41，1978年倫敦蘇富比「姑洗」編鐘（編號110），及2007年香港蘇富比八卦紋「無射」編鐘（編號1327）。北京故宮博物院內藏一套十六件鑄雕雲龍紋的編鐘，只其年款略有不同，作「康熙五十二年」。

乾隆年間所制編鐘乾隆六年（1741）以五年時間考訂樂律，在繼承前代的基礎上有所改進，編成《律呂正義後編》，完整收錄清朝宮廷音樂的樂譜，包括祭祀樂、朝會樂、宴享樂等，是對中國古代宮廷音樂的集大成。

於近年拍賣中，乾隆御製編鐘亦十分珍罕，香港佳士得2008年5月27日拍賣一件乾隆八年「仲侶」編鐘，成交價3280萬港幣。

2017年紐約邦瀚斯亞洲藝術周春季拍賣會編號2101，同樣的一件乾隆雲龍趕珠紋「黃鐘」編鐘，成交價60.75萬美金。

香港佳士得2015年6月3日《中國宮廷御製藝術精品．重要中國瓷器及工藝精品》編號3119，成交價1,744萬港幣，可見此類編鐘備受追捧。

相關參閱：
1.《故宮經典•清宮生活圖典》北京紫禁城出版，故宮博物院編，2007，頁50
2.《中國宮廷御製藝術精品》編號1540，香港佳士得，2008年5月27日
3.《故宮博物院藏文物珍品全集•宮廷珍寶》上海科學技術出版社，故宮博物院編， 2004，圖5
4.《北京故宮博物院展》頁40，圖3
5.《故宮博物院藏文物珍品大系•宮廷珍寶》上海科學技術出版社，徐啟憲主編，2004，頁6
6.《大清盛世•瀋陽故宮文物展》頁158