拍卖信息

藏品描述

这件红山文化 “太阳神” 圆雕玉器，是中国新石器时代晚期（约公元前 3500 - 前 3000 年）红山文化的代表性神玉，堪称北方史前文明 “信仰与工艺融合” 的经典遗存。其年代可锚定红山文化晚期（牛河梁遗址阶段）—— 红山文化作为中国北方新石器时代的核心文化，距今约 5500-5000 年，此时已形成成熟的神权体系，玉器是祭祀、通神的核心礼器。这件器物的造型（蹲坐人形、兽首特征）与牛河梁遗址出土的玉人、玉神像风格高度一致，是该时期 “祖灵崇拜” 或 “萨满巫觋” 信仰的物质体现；部分学者虽对 “太阳神” 定名存疑（认为更接近祖神或巫者形象），但它无疑是红山文化晚期神权社会的标志性器物，承载着先民对超自然力量的敬畏与沟通需求。玉料与选材：采用辽宁岫岩闪石玉（红山文化核心玉料），质地温润、硬度适配原始工具加工，器表可见自然沁色（如灰褐、赭色），是数千年埋藏形成的 “岁月痕迹”，加工技术：以石制工具（燧石、石英砂）实现 “线切割”“片切割” 与圆雕塑形，头部双角、面部轮廓、蹲坐肢体的线条简练而富有张力 —— 尤其双目凸起、双耳斜立的细节，通过手工打磨与磨制工艺完成，虽无精细刻线，却以 “写意造型” 传递出神性的威严，契合红山文化 “以形传神” 的艺术逻辑。装具与功能：器身（或耳部）的穿孔工艺（若存在）体现了 “祭祀佩戴” 的功能，是当时巫者主持仪式时的通神法器；整体打磨光滑，包浆浑厚，可见长期使用或传世的痕迹，是 “实用礼器” 与 “艺术载体” 的统一。 This round carved jade artifact of the "Sun God" from the Hongshan Culture is a representative divine jade of the late Neolithic period in China (around 3500-3000 BC), and can be regarded as a classic relic of the fusion of faith and craftsmanship in the prehistoric civilization of the north. Its age can be traced back to the late stage of the Hongshan Culture (Niuheliang Site stage) - as the core culture of the Neolithic Age in northern China, the Hongshan Culture dates back to about 5500-5000 years ago. At this time, a mature divine power system had already been formed, and jade artifacts were the core ritual vessels for worship and communication with gods. The shape of this artifact (squatting figure, animal head features) is highly consistent with the style of jade figures and statues unearthed from the Niuheliang site, and is a material manifestation of the belief in "ancestor worship" or "shaman shamanism" during that period; Although some scholars have doubts about the naming of the "Sun God" (believing that it is closer to the image of ancestral gods or shamans), it is undoubtedly a landmark artifact of the late Red Mountain culture's theocratic society, carrying the ancestors' reverence and communication needs for supernatural forces. Jade Material and Material Selection: Liaoning Xiuyan Sparkle Jade (core jade material of Hongshan Culture) is used, with a warm texture and hardness suitable for processing with original tools. The natural color (such as gray brown and ochre) can be seen on the surface, which is a "mark of time" formed by thousands of years of burial. Processing Technology: Stone tools (flint, quartz sand) are used to achieve "line cutting", "slice cutting" and round carving shaping. The lines of the head's double corners, facial contours, and squatting limbs are concise and full of tension, especially the details of protruding eyes and slanted ears, which are completed through manual polishing and grinding technology. Although there are no fine engraved lines, they convey the majesty of divinity through "freehand brushwork modeling", which is in line with the Hongshan Culture's "spirit conveyed through form". Artistic logic. Equipment and Function: The perforation process of the body (or ears) (if any) reflects the function of "sacrificial wearing" and is a divine tool used by shamans during ceremonies at that time; The overall polishing is smooth and the patina is thick, with visible traces of long-term use or inheritance, which is the unity of "practical ritual vessels" and "artistic carriers".