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国内拍卖首页 > Christie's UK > 中国瓷器及工艺精品 > Lot 85

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

英国北京时间

2019年11月05日开拍 / 2019年11月05日截止委托

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拍品描述: 清乾隆八年（1743年）御製鎏金銅交龍鈕雲龍趕珠紋「倍南呂」編鐘《乾隆八年製》款10 ? in. (27.3 cm.) high, weight 14.9 kg 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
紐約蘇富比，2015年9月15-16日，拍品160
重要歐洲私人珍藏

Imperial Resonance: An Extremely Rare Imperial Gilt-Bronze BellRosemary Scott, Senior International Academic Consultant Asian ArtThis magnificent and rare gilt-bronze bell bears an inscription dating it to the eighth year of the Qianlong reign, equivalent to AD 1743, and a further inscription identifying the tone of the bell. Bells of this type were known as bianzhong 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 (1st), Dalü (2nd), Taicu (3rd), Jiazhong (4th), Guxi (5th), Zhonglü (6th), Ruibin (7th), Linzhong (8th), Yize (9th), Nanlü (10th), Wuyi (11th), and Yingzhong (12th). 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. The current bell bears an inscription identifying it as Bei Nanlü. The sixteen bells were arranged in accordance with the musical note of the individual bells, 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 such bells are known, the heavier bei bells are very rare. Bianzhong bells were 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. It may be significant that the current bell is dated to the eighth year of Qianlong, 1743, since it was in this year that the Qianlong Emperor made his first ‘Northern Tour’ to visit the ancestral tombs in Mukden (modern day Shenyang in Liaoning province). Undoubtedly, formal music would have been required for the rituals performed in honour of the imperial ancestors. This tour, which lasted 107 days, was very important to the Qianlong Emperor, and he commemorated it by writing Ode to Mukden in the classical Chinese fu style. The ode was originally written in Chinese as Yuzhi Shengjing fu and was later translated into Manchu as Han-i araha Mukden-i fu (or fujurun) bithe. The Emperor would have wished to have ritual accoutrements of the highest quality for use in the ceremonies conducted during the tour. Sets of bells 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 significant occasions. This music was divided into two types and played by two sets of musicians. One was the Zhonghe shaoyue, 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 w
---以下为第三方软件翻译，仅供参考---

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