A large gold and silver inlaid-bronze garment hook, Eastern Zhou dynasty, Warring States period | 東周戰國　銅錯金銀龍首靈獸紋帶鉤

Chugoku Sengoku jidai no bijutsu [Chinese Art of the Warring States Period], Osaka City Museum of Fine Arts, Osaka, 1991, cat. no. 170.

Remarkable for its sumptuous and intricate inlays of gold and silver, this substantial garment hook (daigou) is a superb paradigm showing the exemplary workmanship and technological sophistication of bronze workshops during the Warring States period. Given its elaborate character, such ostentatious adornments transcended mere functional dress accessories, they were likely presented to individuals of exceptionally high social status in recognition of outstanding achievements, thereby acquiring a ceremonial significance, see Jenny So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, New York, 1995, p. 82.

The present hook is elegantly cast with a gracefully curved shaft terminating in a classic dragon head. The surface is magnificently ornamented with a dynamic composition of sweeping volutes and stylised mythical beasts, while the reverse is thoughtfully embellished with charming zoomorphic figures, including a distinct fish, demonstrating the artisan's meticulous attention to detail even on the less visible surfaces. The deliberate selection of such intricate, flowing designs can be seen as the last major innovation and secularisation of China's archaic bronze tradition. Guided essentially by secular concerns, this shift reflects the increasing secularism bolstered by a rising interest in philosophy over religion during the late Eastern Zhou dynasty, which ultimately led to the disappearance of many traditional ritual vessel shapes.

For comparable examples, see a related gold, silver and turquoise-inlaid bronze garment hook of larger proportions, sold in our Hong Kong rooms, 8th April 2023; and another intricately inlaid hook in the Freer Gallery of Art, Washington D.C. (accession no. F1930.45). Compare also a related example in the collection of the Metropolitan Museum of Art, New York (accession no. 1985.214.22). The sophisticated style and execution of the present lot also closely relate to the celebrated group of lavishly inlaid bronzes excavated from the Warring States royal tombs at Jincun, Luoyang, Henan province.

展覽

《中国戰国時代の美術》，大阪市立美術館，大阪，1991年，編號170

本帶鉤錯金銀紋飾繁複華麗，工藝精湛，充分彰顯戰國時期青銅作坊卓越的鑄造技術與登峰造極的奢華品味。觀其裝飾之奢靡，此類華麗配飾已超越實用衣帶鉤之範疇；它們極有可能是賞賜予地位顯赫、功勳卓著之貴族，從而具有儀式性與象徵性意義，更詳細的論述可見蘇芳淑，《Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections》，紐約，1995年，頁82。

此帶鉤呈弧形，龍首形鉤首。鉤面滿飾流暢的幾何雲氣紋與抽象靈獸紋，氣韻生動；鉤背亦錯以精美的動物紋飾，如清晰可見的魚紋。此類繁複靈動紋飾之運用，可視為中國高古青銅傳統的最後一次重大創新與世俗化。這種轉變主要受世俗審美而影響，反映出東周末期社會對哲學思想的關注逐漸超越宗教信仰，世俗主義日益盛行，並最終導致許多傳統青銅禮器形制的消亡。

比較一相關作例，尺寸較大並嵌綠松石，售於香港蘇富比2023年4月8日；華盛頓弗利爾美術館亦藏一錯金銀紋飾精美之例（館藏編號F1930.45）。另可參考紐約大都會藝術博物館藏一例（館藏編號1985.214.22）。此帶鉤之繁複工藝亦與河南洛陽金村戰國王室大墓出土之著名錯金銀青銅器有關聯。