Ming Dynasty period. Chinese archaic bronze culture started over four thousand years ago, from Xia, Shang, and Zhou Dynasties, transformed and copied through Qin, Han, Tang, and Song Dynasty periods, leaving behind many expertly crafted and beautiful archaic bronze ware. Through the history, to the formation of Ming Dynasty period, the Emperor sent Zheng He and his fleet out into the ocean, leading to many Southeast Asian countries to send representatives with gifts to the Emperor. In 3rd year of Xuande reign, Emperor Zhu Zhanji received tens of thousands kilograms of special “Wind Milled Copper” from Thailand as a gift, and he commissioned to use these copper to cast a variety of ritual bronze ware, simply termed Xuande Censers. The Xuande Censers was a widespread success, and it became the epitome of bronze/copper craftsmanship for close to 600 years (1428 – 2017). Since it was directly commissioned by the Emperor, the Xuande Censers used meticulous and complex crafting process, regardless of material cost. The end result were the finest quality bronze censers made that lasts generations. The entire Ming Dynasty period (including late Ming Dynasty period) was considered as the cultural revolution of the bronze ware in the entire Chinese history. The Ming Dynasty period’s research, material, and craftsmanship of the bronze censers exceeds all the past bronze wares, even the color of the censer shines beautifully, almost like jewelry. Thus, there was the old saying “The zenith of bronze ware is Xuande censers.” However, only the Imperial cast censers and Imperial cast censers with private collection marks can be considered as the best of the best. Xuande censer is a generic classification term, mostly referring to Ming Dynasty Xuande period and later censers in the designs following the book “Xuande Bronze Ware Catalog”, and if the censer is not a design from that book, it is usually just called a bronze censer.

The Xuande Emperor commissioned a total of eighteen thousand bronze ware from Thailand’s copper, used by the Imperial family, and as gifts to other Royal family members, court officials, military generals, and famous Buddhist monasteries. After the demise of Ming Dynasty, many natural catastrophes and wars occurred, causing the authentic Xuande bronze censers to be very scarce. Sometimes, it is considered as fortunate that some of the authentic Xuande censers ended up in overseas, instead of being smelt into making coins, swords, steel, bombshells, and even cups. It was especially crazy during the Culture Revolution, many precious antiques were destroyed, smelt, or dumped as trash.

The authentic Xuande censers are incredibly rare, some were brought to other countries, and some survived many national wars and crisis. In addition, the highest quality Xuande censers are even rarer, even the good quality censers are cultural relics in world class museums. The craftsmanship on the censer is superb, similar to German’s traditional spirit of aiming for the best, using the best materials and trying for perfection. The Ming censers mostly imitate the early Xuande censer designs, utilizing good materials, with beautiful colors and shapes, the overall cast quality exceeds even later Chinese Qing Dynasty period (except Qianlong), and the best ones were well-regarded in the auction market. The unique process of using precious materials such as brass, zinc, and tin mixed with bronze, then smelt for eight to twelve times, making the censers incredible collection pieces. Most of the high quality Ming censers were already in the possession of world class museums and well-known collectors, only few quality Ming censers still remain undiscovered. Due to the beautiful design, heavy weight, and material quality of Ming censers, in recent auctions the price has been rising quickly, and trend will likely continue in the foreseeable future.

This particular censer, was crafted by Ming Xuande Dynasty Imperial workshop, looks magnificent and splendid, graceful and patinated, combining grandiose, deepness, elegance, and structured in one, in close observation the censer looks soul-stirring, in further view it looks admiring, and this censer is almost perfect in comparison to other Ming censers, easily with more class, grace, and stately than the other censers. The censer’s patina exhibits sublime color tones from aging process of hundreds of years, almost jewelry-like shines, adding to the incredibly attractive exterior that can be looks better every day.

Shape:
This censer was named in Chinese as ‘Bronze cast elephant mask handle and round foot ring censer’, taken from the auspicious saying “Peaceful Scenery” with a play on words. Xuande censers include many designs, mostly originated from archaic bronze and Song porcelain culture, including rising ear handles, chilong dragon handles, lion mask handles, horse manger handles, Ge-type handles, and more. This censer casted with elegance, grand, and precision, rounded body with no decorations, flat rim, slightly waisted neck, body with one raised rounded bowstring Xian pattern. This bowstring pattern was hard for most of the craftsman, only the Imperial Workshop or famous craftsman can do it properly, and thus the pattern was not seen very often in antique censers. The two sides each cast with elephant mask handles, with the proper ratio of elephant trunk and head, the head slightly raised in good spirit, and cast in soft curves yet with stern and mighty expression, a perfect mix of Yin and Yang, beautifully crafted by master craftsman, and looks very different compared to Qing Dynasty censers with elephant handles. Observing other Ming Dynasty censers with elephant handles, some with sagging head, some with wrong head and nose ratio, some are too stiff, and some are too soft. The elephant mask not just a rounded handle, but they must display the strength and magnificence of the elephant, and it can’t be done with just simply carving an elephant head or good design of the censer body. The elephant head handle censer must be crafted by creative artisans, as the difficulty is much higher than normal bronze censers. There were not many elephant mask handle censers passed down from Ming and Qing Dynasty period, and the high quality ones are far and few between. This censer’s elephant trunks attached to the body in rounded form, with smooth and precise circle in the gap, and this is a signature design of Ming Dynasty period, the importance of circle. In addition, each elephant mask features six tusks, indicating they are the king of the elephants, and according to Buddhist literature, this is the elephant serving the deity Samantabhadra. The six teeth elephant design was popular during the early Ming Dynasty period and earlier, examples of such can be seen on Xuande Guan-ware ‘Blue and White Ocean Mythical Beast’ dish, and even Yuan Dynasty (1351 A.D.), ‘Dragon vase with elephant handles’. Other examples include Yongle period blue and white moonflask, which was given as a gift by Zheng He to neighboring nations, and another example is the Fa Hai Buddhist Temple near Beijing has the wall painting of Samantabhadra riding on six-tusk white elephant, dating back to early to mid Ming Dynasty period. However, after mid-Ming Dynasty period, the six-tusk elephant design became exceedingly rare, especially on the censer, only occasionally imitated by Qing Dynasty censers.

This censer’s six-tusk elephant was used as handles, with smooth and lively outline, solidly crafted, and it is a masterpiece no matter the time period. The censer was probably crafted during early to mid Ming Dynasty period by the Imperial Workshop, with matching standard design from that period. The original censer does not have cover or stand, but the 19th century collector used small-leaf Zitan wood carved cover to complement the censer perfectly. In Qing Dynasty period, incense burner was used frequently to cleanse cloth, body, or room, and the cover was used to prevent fire burning the clothes, and thus the collectors from Qing Dynasty period typically add specifically crafted cover to Ming Dynasty period censers. This cover was carved from Zitan wood, and still maintains excellent condition with no cracks and heavy patina, possibly was used only as decoration.

Six-tusk elephant bronze ware were rarely seen in auctions, and Ming Dynasty period six-tusk elephant handle censers are even more scarce, further proves this censer to be extremely valuable.

Colors:
This censer is of chestnut-shell brown color tone, the delicate exterior bronze layer mixes perfectly with heavily aged patina, under light rays it reflects amazing mystical colors, the censer’s body exhibits the shine almost matching jewelries. The beautiful skin tone is not only smooth and bright, but very delicate, almost like baby’s skin. The rim and waist have slight age-related accumulations, deeply embedded into the interior and cannot be washed off, and after long time use, the lip has very slight chip, and otherwise the censer retains very good condition, with no sand holes, hairline cracks, chips, or damage. When touching the censer by hand, it doesn’t feel as rigid as typical bronze ware, but instead it gives a feeling of softness, and even looks to be more like wood carving than bronze ware, mostly due to the heavy patina on the surface, accumulated for over four hundred years, the exterior’s shine is more like water than oil, not murky at all.

The aforementioned features only applies to the best Xuande censers. Many scholars of Ming Dynasty period, after seeing the authentic Xuande censers, wrote down the differences. The scholar Mao Xiang from late Ming Dynasty period wrote in the book ‘Xuande Censer Notes’: “The Xuande censer is most interesting at the colors, false colors on the exterior, true colors within, from dimness to light, just like girl’s skin, soft and smooth”. The term ‘False colors on the exterior’ was referring to imitation censers of the period, with no patina but has bright and shine exterior, unlike real censer with true colors shone within the patina, and upon pinch, real Xuande censer feels more very smooth just like woman’s skin. Another famous Wanli period collector Xiang Yuanbian written in the book ‘Xuande Censer Discussions’: “The Xuande censer shows gemstone color within, jewelry shine on the exterior, like the water wave”. Even in Wanli period, the authentic Xuande censers were exhibiting water shine-like patina, something that cannot be achieved by chemical shine, wax, or other man-made material. Another late Ming Dynasty period scholar Liu Tong said, “The color is dim, enclosed light within, seems to be a soft object, can be easily pinched.” The dim was not referring to just the color, but instead referring to the soft censer body feel to the finger, this is a sensation that’s difficult to understand for collectors that have never touched authentic Xuande censer. Every Xuande censer collector dreams that their favorite censer to be authentic Xuande censer, and many so-called authentic Xuande censers cannot even be considered as quality censers. Although there are still some quality censers from Ming Dynasty period, only very few are of the highest grade quality, most collectors do not have it in their collection due to lack of opportunity or money. The best Xuande censers cannot be easily imitated, as it required smelting minimum eight times to refine, fully combined all the materials to have such density and color tone, and it is not something that can be covered by a colored bronze layer. From the book ‘Xuande Censer Discussions’: “Xuande censer has three color tones, gilt peach color, fall okra color, and chestnut shell color”. This censer is the classic chestnut shell brown color, a standard color from the period.

Most collectors have excellent artistic sense, if this censer is placed in the hall, it adds an aura of grandiose to the hall, and if it was placed in study room, it adds an aura of nobility. The exterior of the censer has heavy and dense shell with smooth patina, the whole body with no dings or holes, only very minor chip, and age related natural wear, well preserved. The sound from tapping the censer is melodious and reverberated, very different from the sharper sound from other bronze censers, similar to how different the tenor and soprano sounds.

Mark:
This censer has a rounded ring foot, slightly splayed outwards, ratio to the censer’s body is relatively low, as later Qing Dynasty period censers have taller ring foot. Within the center of ring foot bears four character “YU TANG QING WAN” square seal characters, written beautifully. This mark is considered as one of the top private collection mark in Ming and Qing Dynasty period, well known to many collectors. Before early Qing Dynasty period, this private collection mark have many excellent bronze censers with quality craftsmanship and material, but after Daoguang period, the quality dipped. Before 17th century, the Xuande censers with YU TANG QING WAN mark were very high quality and were sought after by the nobles, wealthy, and scholars.

The “YU TANG QING WAN” mark was one of the earliest private collection marks, it originated from Yan Donglou’s hall mark, and from the famous Republic period book ‘Antique Guide’, author Zhao Ruzhen wrote: “Yu Tang Qing Wan private collection’s owner is Yan Donglou, all the censers were Xuande censers without Imperial mark, obtained from Imperial Workshop and were not made privately, thus these are not in the imitation category.” Zhao Ruzhen studied Xuande censer extensively, the book contains his lifelong experience and research, and it is important evidence that should be not be refuted.

Yan Donglou is the son of Yan Song, both were court officials in high position during the Ming Jiajing Dynasty period, and as such, they have tremendous powers and thus received a huge amount of bribes. It was very easy for them to obtain unmarked Imperial workshop crafted Xuande censers, then add their own marks to it, including Yu Tang Qing Wan mark.

Unmarked Xuande censer is basically bronze censers that finished all the smelting process and exterior, only missing the last step of adding the mark. Between this time period, the censers were checked for quality, and at this point, it was possible to “lose” the censer by bribery or sold for high price. Another type of unmarked censer was the prototype, after checking for initial quality, it becomes the standard for all other censers. There were total of 117 official Xuande censer designs, and that means there were at most 117 prototype censers. If the unmarked censer doesn’t pass the quality check and cannot be repaired, due to the high value of the material, it will not get thrown out, but instead it will be smelt again with other precious material to liquid bronze, and used for other censers.

The unmarked censers from Ming Dynasty Imperial Workshop were all high quality censers, even with repair they look almost perfect, as the unrepairable censers were all smelt again. The unmarked censers are still very rare, as the collectors or private collections tend to add their own mark to it. In addition, the Imperial Workshop is very strict on the controlling the imperfect censers, not allowing them to flood the regular censer market, and further increases the value of authentic Imperial wares.

According to research by other Ming Dynasty period scholars, the Yan family does not own a bronze workshop, and they only inscribe mark to the already existing censers. To have the private collections label, the censer must be of the highest quality, such as the authentic Xuande censer. Since they do not cast the bronze censer, the only ways to add mark to the censers are inscription and hammer print, not cast mark. Later imitation censers from Qing Dynasty period were mostly cast marks.

This mark is of square stamp seal form, well-inscribed similar to Imperial workshop standards, while under microscope, the incisions and the square have slanted entry angles, and feels very smooth with touch, without any sharp feeling. There is a very high possibility that this censer is of the period and mark, around Mid Ming Jiajing Dynasty period.

Quality:
During the Xuande period, the birth of Xuande censer was a historic moment in the bronze culture, and was well-noted by the Ming Dynasty scholars. Even the famous scholar Wen Zhengming was lusting over an authentic Xuande censer, willing to pay a high price for casting one because the cost of an Xuande censer was very high even in the late Ming Dynasty period. The reason that it’s hard to imitate Xuande censer is that it uses windmill bronze from Thailand and mixed with other precious metals, and smelt them many times to create. Since the censer itself must be used to burn incense for many years, it must be able to withstand high temperature, corrosion-resist, not easily chipped, damage resistant, and be able to last for generations. Pure copper is too soft, and thus not good for censer or weapon, thus other metals such as zinc and brass were added to retain the hardness. According to the ‘Xuande Censer Catalog’, which had three versions (three volumes, eight volumes, and twenty volumes), mentions “Wind milled bronze, color of sunset”, and from that color description we can estimate the ore includes around 17% to 21% zinc in order to have such reddish-yellow color, if zinc is over 22%, the color will turned into yellow. Modern yellow bronze ware has between 30-40% zinc. If zinc is below 16%, the color will turn red. The wind milled bronze is a type of yellow bronze, the color between red and yellow, more distinguishable than typical bronze. After smelting six times, the zinc already evaporated quite a bit, since its melting point is 419 degrees C, while the copper melting point to be 1083 degrees C, and tin has even lower melting point at 232 degrees C. According to Ming Dynasty scholars, after smelting six times, the copper already lost half of its materials, and after smelting twelve times, only ¼ of the material remain. Although wind milled copper is a type of yellow copper, due to the other metals added and smelt, it is no longer just yellow color, but a reddish color tone. The Xuande censers that smelt 8-12 times are very heavy. Comparing Xuande censer and other Ming Dynasty censers, some have close to copper red or orange color tone, but they are not actual red copper censers. The red copper censer has over 95% copper, and pure copper is 99% or higher. The Ming Dynasty censers average about less than 5% zinc, thus it’s slightly red. Also, the high quality censers typically include more than the aforementioned precious metals, and the censer should not be considered as yellow copper.

After many smelting process, the purpose was not to eliminate metals with lower melting point, but to change the quality of the metal from the quantity, similar to the process of stone changing into beautiful jade. The famous swords Gan Jiang and Mo Ye also crafted from copper, went through six smelting process, each reaching the melting point and filter out the dregs, each process taking up a long time. Another Ming scholar Xiang Yuanbian said: “Each catty of copper only can produce four taels bronze”, confirming that it is reddish colored bronze, not yellow bronze. Liu Tong of late Ming Dynasty remarked that the authentic Xuande censer seems to be flesh color, and Mao Xiang also remarked, “Looked like lady’s skin”, and from these we can infer the quality censers were not yellow, but slight red, similar to today’s popular 18k rose gold. From Qing Kangxi Dynasty period, the zinc in the censers increased to 7-8%, and even more in Yongzheng Dynasty period, while the copper quality was relatively lower than Ming Dynasty period. By the Qianlong Dynasty period, the zinc has surpassed the previous two dynasties, some even reaching 18-21%. However, Qianlong period saw the new groundbreaking smelting process, combining gold, silver, and other precious metals into the bronze to create beautiful bright gold color, compare to Ming Yongle and Xuande period gilt bronze Buddha, the zinc is around 14-17%. Qianlong Imperial Workshop censers were also very heavy, with almost gold-like exterior, thus they were called Golden Censers, and can be compared to the best of Xuande censers, but the authentic censers are equally scarce.

The censer’s quality, rounded and heavy but not clumsy, inner diameter measures 14.5 cm, outer diameter measures 17 cm, body waist measures 19 cm, height 9.5 cm, and it is considered as medium size. The censer weighs (without cover or base) approximately 3812 grams, very heavy considering its size. Using 10x magnification at the bottom bronze foot, you’ll see the color similar to the 18k rose gold, and its all due to smelting twelve times. The more smelting process, the heavier the censer. Quality censers from Ming and Qing Dynasty period do not add lead to the censer, because it adds black color tone and removes shine. To distinguish the quality Ming and Qing Dynasty period censers from imitation, consider the weight, size, color, shine, patina, feel, design, and other aforementioned points.

Conclusion:
After year 2000 and the advancement of technology, there were several styles of Ming Dynasty Xuande imitation censers started to show on the market, and that includes the six-tusk elephant design. These modern imitations may look similar in shape, but vastly differ in details, spirit, patina, bronze quality, and added weight. The artistic touch and design is a farcry from the authentic censers. Imagine, Michelangelo’s Venice, if the chin was raised or lowered 10 degrees, it would be vastly different. Or, Da Vinci’s Mona Lisa, if the mouth opens 10 degrees more, then the smile would not be nearly as mysterious, if at all. The artistic details are very lacking on imitation censers, even if there’s technology and material, the imitation cannot be compared to the quality Ming censers. This censer was used in the palace or court, not a typical collector’s item, and it is one of the best in the known censers, with massive weight, sound, and design.

Ming Dynasty Xuande censers is one of the most scarce collector’s item, much rarer than gilt bronze Buddhas, jade, paintings, and porcelain. In recent years, as the demand for Xuande censer increase, even quality censers are hard to obtain, and this superb quality censer is a once in a life time find. And from this article, the design, color, mark, and quality of this censer are all top notch, one of the best Ming Xuande censer to be on the auction. In recent years, close to thirty Ming and Qing Dynasty censers were sold over $1,000,000 USD, and the price is still rising. Xuande censer is now the focus of the market, with still plenty of room for the price to grow compares to the top ceramics.

The Westerners used to overlook bronze censers, most of them collecting porcelain. Ever since the 2008 Sotheby’s Hong Kong sold a Ming Dynasty Xuande censer (gilt bronze, almost 1,200 grams) for over $100,000,000 HKD, Westerners started to take notice of the market. In 2010, Beijing auction house sold two Ming and Qing censers, each worth over ￥15,000,000 Yuan, shocking the collectors around the world, realizing the market for Ming and Qing censers have a bright future ahead.

We proudly present this Ming Dynasty Xuande censer on the auction, for collectors around the world to gather and see the magnificent censer in its full glory on display. Don’t miss the opportunity of a life time to obtain such national treasure!

明代 稀世国宝 象首耳宣德炉

詠明代宣德爐
一代江山稀世珍，天下名士久思慕，
大明瑰寶誰得主，百年機遇仗厚福。
六牙象首風神俊，英氣勃勃勝猛虎，
姿色耀采嘆麗質，璀璨紅金透胎骨。
靈光熠熠水汪汪，上手細軟若嬰膚，
默默久藏帝王處，一朝出世人驚呼。
堂堂三千八百克，渾厚圓潤實獨步，
烈火熊熊十二錬，已成聖格振千古。
玉堂清玩真背書，皇宮赫赫奇文物，
滄桑歷盡猶完壁，一身拔萃似當初。
焚香彈琴月如珠，清煙扶我登雲路，
長積陰功在人間，情韻相伴宣德爐。
（引自子焜長詩）

中華青銅器文明的偉大工藝，發軔於三、四千年前的夏商周時期，歷經秦、漢、唐、宋各朝之傳承仿製，極富鬼斧神工之妙，皆留下了不朽的煌煌珍品。沿著歷史長河，到大明興起之際，明成祖派鄭和遠航艦隊出訪，使南洋諸國紛紛稱臣來朝。宣德三年，朱瞻基皇帝即以泰國進貢數萬斤的風磨銅，開議鑄造禮器，史稱宣德爐！宣爐之作，一舉成功，名揚近六百年（1428-2017）。由於茲事體大，工程繁密，更不惜原料，不斷地反覆冶錬以臻極至，其高文典冊，精心慎重若此，乃能一朝掦名天下知，代代傳頌宣爐事！整個明代（包括晚期），在中國銅器文化史上，真可謂文化復興的燦爛時期！因為明代對銅爐製作的講究，其優異質量實已凌越了青銅器之上，達到珠光寶色的境界！故有「銅器之極，宣德爐是也」之古句！但宣德爐惟有官造及私款爐中的精品，始稱傑作。宣德爐之名稱，泛指明代宣德年及其後世，依據「宣德彜器圖譜」的樣式製造的銅爐，不依據圖譜製作而另有形式風格者，一般不稱宣爐，而是叫銅爐，不過銅爐是統稱，當然包括宣爐在内。

明宣宗在宣德年間，用風磨銅傾力鑄造的鼎爐禮器，總共一萬八千件，除宮廷皇家御用外，並分送王侯大臣、有功將官，以及天下名山之宮觀寺廟。明亡之後，迄今三百多年，卻先後發生多次的大戰與滔天人禍，使得真宣（真正宣德年造的銅爐）及其他歷代好爐的存世量，一代不如一代！有時好爐（包括真宣）不怕流落海外，所謂他鄉遇故知，或許更能得到保護而幸免于難！好爐最怕在浩劫中陣亡而永不復生，何謂陣亡也？何謂好爐萬劫不復也？即被熔解之後去鑄銅錢、去鑄刀劍，有的被熔解之後，去煉鋼和做砲彈殼，甚至去做洗臉盆、茶杯及日用品等等。尤其文革瘋狂打砸，大肆破壞，轟轟烈烈，席捲全國，歷代珍貴古銅器，在各地廢品站堆積如山，有的已殘裂傷損，正一齊等待猙獰的火焰，一夕之間，化爲銅水，移作他用。真宣在歷史後段的劫難期，不亡於大煉鋼之際，亦毀於文革之中矣！正是：

千古神器化爲水，白鶴歸天已難追，
幾代罪過幾代悲，靈台破碎寳成灰。

真宣厄運重重，今天雖然緲茫無蹤，但在這大地上，並未真正絕跡，有的已遠走異邦、長隱海外，得免付之一炬之禍！真宣並在數代的戰火下（以李自成、太平天國、八國聯軍、日本侵華、國共相爭為最烈），今日仍一息尚存，幸未完全絕滅，是可告慰于天地及先賢者！

再者，明代精品級的好銅爐，存世量已相當稀少，同時也都要避開三百多年來的許多次政治性大災變，始能全身而退，幸存至今。故明代好爐已是世界博物館級的重要文物瑰寶！其在工藝上，有德國人優良傳統的求真精神，紮實而不偷工減料，渾厚而講究完美！明爐多仿自初期真宣的式樣，質精色麗，神韻生動優美，綫形自然，其整體鑄造水平，超越了清代（乾隆一朝除外），在中國銅器史上，號稱為文藝復興時期，以其軒昂不朽之作，驚艷了世界拍賣市場，又以其具有開創性的壯舉 - 對銅合金冶煉達八至十二次，和高超的失臘法精製工藝，震古爍今，成爲曠世傑作！精品明爐，大多已被知名的國家博物館及大收藏家納入囊中，流通在外者，已極其有限。由於明代精品爐特別耐看，份量又夠重，近幾年在各方追捧之餘，價格扶搖直上，在大拍賣會上，經常火爆而一枝獨秀，明爐從此發光發熱，可以想像其未來遠景矣！

而今此爐也，為明代官造之宣德爐，大氣端嚴而渾厚典麗，仙姿玉質且流光溢彩，集雄、深、雅、健四德于一身，近視之，則令人蕩氣回腸，遠觀之，則令人擊節嘆賞，明爐造詣至此，已臻于完善之境界矣！在與其他一些明清好爐相互評比之下，一眼望去，此爐如騰蛟起鳳，英挺特異而淩駕其上，又如鶴立鷄群，姿質超卓而立分軒輊！不比不知其奇異也，實乃國之重器，明爐中真正的翹楚之作！此爐神光内斂卻透露了一股感人的滄桑之美，醖釀數百年的溫潤清輝所呈現出來的珠光寳色，真是魅力十足，雖終日對看，讓人如入勝境，雖一日百睹，更是珍愛有加，物華天寶，豈是虛言也？

正如詠明爐（子焜詩）云：
英豪風骨帝王韻，凝眸千回讀不盡，
身歷戰火數百冬，得伴君旁長相親，
爐氤氳 君撫琴
吟開詩境天尤近
君撫琴 爐氤氳
誰來添香心相印

玆將進一步分析而稍加論述如下：

論形制：
此爐名為象首耳圈足爐，取其太平景象之吉祥寓意。明代宣德圖譜中有許多款式，皆源于青銅器及宋代瓷器兩者文化之融匯而精心設計的。如冲天耳、蚰龍耳、獅首耳、馬槽、鬲式等等。此爐也，形態典雅莊重，法度周正嚴謹，素面、口平、身圓，頸部略收，腹部豐膄，中間加一道凸起的弦紋，環繞規整，此道弦線之工藝頗難，一般師傅難為，惟見于官造爐或名家手中，古代一般爐少見也！兩側置象首耳，象首與鼻之長短，搭配比例甚精凖，象首略抬頭，精神抖擻，有雄風奮起之勢。象的樣子，是在柔軟中表現了相當的力度，威猛可敬，同時在渾圓中放射出持久的剛勁，陰陽具備，此正為明代工藝對獸形雕造與清代的不同之處！此爐兩側的象首樣貌，略微相異，但皆栩栩如生而神韻不凡，實乃大師手筆也！細心觀察一些到代的象首耳爐，並非個個都是上選，有的垂頭無朝氣，有的神采太平庸，有的頭鼻的比例失準，有的轉折嫌僵硬，有的品相較軟弱，等等不一而足，都做不出奇偉而出色的象首來。所謂象首並非一般把手的圓耳，它必須展現大象優美而雄渾的氣韻，一見之下，壯麗可愛，讓人由衷讚美，並非雕個象頭就可以了，也並非只設計爐身的綫形就夠了。象首耳爐必須具備高超藝術的創作，才能成爲好爐。它的困難度遠遠淩駕一般銅爐之上！象首耳爐明清兩代的存世量不多，而能成爲一代偉器的更是少之又少，神品自古難尋難得，也彰彰明甚矣！又此爐兩側，象鼻有力地貼住爐身，形成圓孔，整體看來很圓潤而綫形流暢，手藝渾然天成，這也是明代宣爐的特徵，重視渾圓神韻之故！再者，兩側象首生有六牙，六牙象或稱六牙白象，乃象中之王，佛教經典説是普賢菩薩的坐騎。六牙象造型流行于明代初期和明以前，如宣德官窰「青花海怪」紋盤，可見六牙白象之描繪。稍早元代至正十一年（1351），「龍紋象耳瓶」也已見到六牙象之圖像矣！再説永樂青花圓形扁壺又繪有六牙象，鄭和下西洋時，曾持此贈與錫蘭等佛教邦囯！北京西郊之法海寺，其壁畫可見到普賢菩薩騎在六牙白象上，優雅而很有感染力！法海寺壁畫約明代初期或初中期的作品，足以媲美敦煌岩洞之宋元時期畫作！不知何故，六牙象在明中期以後，即不多現矣！尤其銅爐，更是罕睹！峨眉山萬年寺的普賢菩薩騎六牙白象的銅像（62噸重）乃宋初太宗皇帝所賜造，可能是後世模仿造象的源頭和動力，六牙象從宋至元及明代中期後，便悄然無蹤矣！清代雖有仿六牙象，但銅爐仍屬少數，精品罕見！

此爐以六牙象首為耳，整體綫條形態古雅生動，穩如泰山，爐身圓潤而厚重，蘊蓄著萬鈞之力，不愧為剛柔並濟的一代傳世之作！年份應屬明代早期或在中期，且必為皇家官造之傑作無疑！此爐乃圖譜之標準款式，原無爐蓋，亦無原配底座，今之爐蓋乃十九世紀清代收藏人士，特用小葉紫檀木雕配而成的，鏤空雕花，古雅豪氣，與爐身搭配，嚴絲合縫，相得益彰，望之儼然有帝王之風！由於清代蓋爐（即薰爐）使用很普遍，古代無香水，皆用香木燃薰其衣服、身體或在室内薰香以作淨化之用，有蓋是避免衣服之類，觸及爐中火苗。清代人收藏到明爐，有的會精心特製爐蓋，或當作擺飾。此爐蓋為紫檀木，雖上百年而毫無裂損，包槳亦潤，搭配此爐，應為藝術陳設品，以彰顯國寶之氣派！不忍心作焚香之用也。

六牙象銅器在歷來拍賣的紀錄上已經很少，而明代六牙象首耳爐，更是空谷足音，幾乎絕響矣！足見此爐珍貴程度，其形制之正之美之妙，已臻於極致乎！

論皮色：
此爐也，正是栗殼色，精緻厚實的皮殼與豐腴的包漿互相融攝，在光線的變化下，奇光閃爍，如從深谷中折射而出，幽奧古雅而含藏歷史記憶的出奇品貌，動人心弦而耐人尋味！整體爐身看起來呈現珠寶般的珍貴！美麗的皮色，不僅極瑩潤而亮麗，且細膩無比，超乎尋常，真如嬰兒肌膚！口沿及腹部都有歲月的輕微積澱，深入内部，擦洗不掉，歷經長期的使用，唇部僅有一點小小磕碰，基本保存相當完好，内外無砂眼，無裂縫，無任何撞擊傷痕或損壞，古意盎然，美不勝收！由於皮色冷艷之極，又溫潤之極，富麗堂皇之氣，令人左顧右盼而神馳清發不已！用手拿捏，沒有銅器的僵硬感，像摸到棉布一樣，觸感柔軟，在視覺上仿佛是木雕藝術品，不太像一般的金屬器具，包漿豐厚凝重，累積並穿越了四、五百年以上的寒暑，其皮色之滋潤已是水汪汪一片，但並非油膩膩的俗態，若清明在躬，毫不混濁，也毫不沉悶，近看似潭水之清澈，遠望如溪澗之清波，靈氣籠罩，寳光四溢，正是： 爐身一片水汪汪，奇姿妙色堪稱王，五百年來默修藏，橫空出世破迷惘，破迷惘，識真相，宣爐從此更飛揚。

以上所述之數點特徵，一般好爐是達不到的！明代不少文人在見過真宣後，筆之於書者，如明末四公子之一的冒襄，在所著「宣德爐哥注」中說：「宣爐最妙在色，假色外炫，真色内融，從黯淡中發奇光，正如好女子肌膚，柔膩可掐」。所謂假色外炫，是指當時的仿品，無包漿而器身有賊光，真色内融，是色光内蘊，包漿含厚之意也！且真宣用手掐按，如女人皮膚，柔軟細膩，無僵硬感。又明萬曆朝的大收藏家項元汴在其［宣爐博論］中說：［宣爐之妙，在寳色内涵，珠光外現，澹澹穆穆］，澹澹者，水波搖動也，穆穆者，美妙品貌也，當時的真宣已現水汪汪的包漿姿色，非尋常可比！真宣一看就是珠光寳色的等級，一些好爐皆望塵莫及，它們雖古樸明亮，但感覺不到珠寶的品味。這珠寶的品味，不是靠亮光劑或打臘可以做到的，何況好爐不適用油臘和化學劑去擦拭。關於真宣，明末文士劉侗又說：［其色黯然，奇光在裏，望之如一柔物，可挪掐然］，所謂黯然，指皮色非淺淡，而爐身如一柔軟之物也。爐身成一柔軟之物，是手的觸感，這是與其他銅爐相較之後的評語，從未接觸到真宣或與真宣等級的稀世珍寶之人士，是無法理解的！每一位宣爐的收藏家，都在夢想自己心愛之爐是真宣，在網路上，有些號稱為［真宣］的銅爐，連精品級都鞭長莫及，遑論其他，真宣與真宣同等級的明代稀世國寶，存世量極其罕見，雖然明代仍存有一些好爐，但達到珠寶級（稀世級）的比例相當稀少！一般收藏家若無機緣及豐富的財力，終其一生亦夢想難圓也！而珍稀級之宣爐，不是靠幻想可以冒充或僞托的！倘無真正八煉以上的升華淘淨，又倘無真正八煉以上的量變質變，何來珠寶般的色澤，又何來珠寶般的貴氣。當質量不夠精時，不是加染一層銅皮予以掩飾，就可搪塞過關的！［宣爐博論］復云：［凡宣爐本色有三种：流金仙桃色、秋葵色、栗殼色］，故知栗殼色乃真宣傳世的標準皮色之一，此爐也，正是栗殼色！亦合乎圖譜中的標準器也！

收藏家多有藝術修為，如將此爐安置于廳堂之上，則一股堂皇之氣立刻彌漫于屋内，寶物的魅力難以抗拒，爐光添色，靈韻迴蕩，讓人神清氣爽而愛惜逾恆！若安置于書房中，則吉金耀采，書香、爐香、心香，三者融融俱化，令人心醉之而神怡之矣！此爐之妙，有如是者！

此爐皮色，應為當時之匠師所浸染而成，皮殼厚實且包漿已極其豐潤，爐腹與全身毫無凹痕或穿孔，僅有極小的磕碰，長久歲月的痕跡，過渡自然，保存相當完美！用手輕彈口唇，聲音寬長悠揚，與一般銅爐尖高之聲音不同，如女高音與男高音的區別，又如同真龍銀與銅製假龍銀之吹聲，音階不同也！

論款識：
此爐為圈足爐，圈足稍外撇，與爐身高度的比例算低，清代以後則多高圈足。圈足底部中央開框署［玉堂清玩］四字正方形篆書，字跡挺拔俊朗，端莊古雅而飽滿有力！底足四平八穩，不易推動。收藏界皆共認［玉堂清玩］在明清私家款中名列前茅，為歷來宣爐知名度極高的款識。大凡清初以前，此款佳作連連，無論銅質工藝，俱屬上乘，道光之後，則每況愈下，仿品已不復往昔榮光矣！亦即十七世紀以前，玉堂清玩款的宣爐，質精色麗，品相卓越，常被權貴、富豪、文人墨客等列爲第一優先入藏的心愛之物（除真宣以外）。

［玉堂清玩］款應是宣德年以後，最早的私家款之一，它起源于嚴東樓的堂號，民國巨著［古玩指南］，作者趙汝珍在書中云：［至玉堂清玩之主人，為嚴東樓，凡嚴氏之爐，皆係劫取宣爐之無款者，充為己有，非其所製，故玉堂清玩之爐，不得列在仿製之内也］，趙汝珍於宣爐探研甚深，書中論述良多，頗有見地，並曾目睹真宣風采，非僅搜羅廣泛，且智識超群，其所言絕非空穴來風，乃其一生經驗之總結，不可輕易否定！ 嚴東樓為嚴嵩之子，兩人在明代嘉靖朝，身居重位，權傾一時，可說要什麽有什麽，宮中内外，凡百官、太監、妃嬪等，百般巴結，爭相賄賂，嚴家欲得真宣，有何難處？其在獲取無款真宣之後，印刻嚴氏堂號以傳世掦名，此為玉堂清玩款識之始也！玉堂淸玩何以如此珍貴，因大都是真宣極品的非凡風貌，此所以後世為何如此羨慕嚮往而代代仿製的真正原因！明朝嘉靖朝仍有大量的無款真宣存藏宮中，此時未經戰火摧殘，嚴家之取得，來路甚易也！ 何謂無款真宣，即宣爐在製造過程中，要等皮色做好後，最後一道工序才是落款，故爐完成後有較長的時間處於尚未落款的階段，來檢查是否合格，此時就容易丟失，送人或高價私自賣出。還有一種無款爐，即先做樣本爐，呈上核對後，再依此式樣，用失臘法鑄造數十或百來件入藏，宣爐的式樣約117種，故無款樣本爐必超過此數矣！如果無款爐不合格而無法修補，因質料貴重，不可能丟棄，皆一律重新與其他金屬原料高度冶煉後，化成銅水，再行鋳爐。

明代官方流傳下來的無款爐（不止宣德一朝），都是好爐，即使有修補也是精美無痕損，不合格而不能修補的，早就回收重鋳，然無款爐勢必不少，也早被後來者印刻款識矣！一直保持無款爐的模樣，為數甚少甚少！ 再者，官造爐同官瓷一樣，不合格者，不會隨便讓它流傳在外，因官製嚴謹不濫之故！也因此官爐或官瓷受四方追捧，紅紅火火，年年上漲，爭相收藏不衰！ 又嚴氏僅刻印而不造爐，基於嚴家的勢力，如從事造爐，其產量規模必為私家款爐之冠也，明人筆記必有着述，但查無所記！且嚴家堂號之爐，必取之於上上之選，以光家聲，而上上之選則非真宣莫屬！嚴氏既不鋳造爐鼎，其落款必採打印及鎸刻兩種，此亦為歷來官方的正規工序，故玉堂清玩於嚴氏，不可能有鋳款，而鋳款較差，多為清中期以後的民間模仿之鋳爐者所為也！ 此爐款識如正方形印章，莊重明朗，規整到位，達到官方水平無疑，字跡筆劃及邊框，從上到下在低倍放大鏡下，可明顯看到斜坡而非直線下去，有的專家稱此為「熱冲印款」，即燙熱打印法，茲姑存此一說，但此爐應屬鎸刻款，打印款並非玉堂清玩的唯一落款方式，即使真宣與歷代官方也有鎸刻款的！用手撫摸字跡摩擦邊框，渾然平順而毫無尖刺之感，包漿甚厚潤。此款若為嚴家所打印或鎸刻，則真宣的可能性不可謂無也！此爐斷代，應在明中期以前，必先於嘉靖朝之時也！然真宣條件多方，不可以只看款識而論，學術必當嚴謹，不可輕率吹噓或武斷也！

論質量：
宣德年間，轟轟烈烈從事了一場銅器文化史上的大創舉，即宣德爐的誕生，如日月麗天，震古鑠今！明代不少文人已將宣爐（宣銅）載於筆記中，斑斑可考，且當時有實物可以見證！決非虛誕決非妄言也！即使四大才子之一的文徵明，亦甚渴慕宣爐而自行出資鑄爐以掦清風，因晚明時期，真宣之價格已達天價，非常人可擁有！真宣有一項特技，極難仿造，即用風磨銅（泰國奉獻）及其他貴重金屬冶煉出來的質量，令許許多多的古銅爐無法企及。要質量好，又要傳世久遠的銅爐，必須要冶煉多次，始克有成。由於香爐內膛常年焚香，溫度數百度c，錬銅之目的，不是要煉成純銅，是要讓爐在長年使用中，耐腐蝕、耐磕碰，不易漏底、裂損或穿孔，經得起一代又一代的完美傳承，所以湏講究冶錬也！因純銅（等於現今的電解銅），太軟，硬度差，一撞碰即易凹傷變形，非僅不適用於香爐，也不適用於古代兵器，故須用鋅、錫等相配，以資鑄錬。宣德圖譜共有繁簡三種的的傳抄本（三卷、八卷和二十卷），其中言「風磨銅，色如陽邁」，陽邁是日落黃昏雲彩的顏色，故推測當時風磨銅之銅礦的含鋅量應在百分之十七至二十一之間，才會有黃昏的紅黃色彩出現，鋅如超過百分之二十二以上時，則逐漸變成黃色，我們現代一般的黃銅器品約在百分之三十到四十之間，鋅在百分之十六以內，則逐漸偏紅，鋅越少，則紅色愈顯。風磨銅是黃銅，其顏色在紅黃之間，應可確定，故其色彩漂亮，勝于一般黃銅製品。一般經過六鍊以後的銅水，鋅已氣化消散不少，鋅的熔點419度c，銅的熔點1083度c，遠低於銅，故先于銅氣化矣！錫的熔點更低，232度c，氣化消散更快，據明人論述，六錬以後之合金銅已減少一半，十二錬以後則剩下四分之一！雖然風磨銅是黃銅，並主要加鋅與錫等冶錬，在不斷地多次昇華並淘汰滓渣之下，鋅鍚等其他金屬含量已明顯減少，錬成的銅質，已不是黃銅的顏色，而是偏紅。用黃銅冶鍊8次至12次的真宣，璀璨亮麗，質量細膩而特別沉重。詳細檢驗真宣和與真宣相等質量的爐，以及明代許多的精品爐，其爐胎皆偏於紅銅顏色或接近橘紅色系，但他們並非一般紅銅。所謂紅銅是含銅量高達95%以上，而純銅是99%以上。明代的精品爐平均含鋅量在百分之五以下，故銅色偏紅，雖含鋅而量少，已不能稱其為黃銅矣！明代的好爐除鋅以外，尚含其他貴重金屬，不僅是銅鋅合金而已。故用風磨銅（黃銅）錬成的宣爐，其爐胎已非黃銅矣！

從事這麼多次的冶鍊，並不是要把熔點低的金屬蒸發掉，而是要從量變達到質變，讓分子間的結合產生重新變化的組合，宛如從一塊石頭變成一塊驚羨的美玉一樣！千古寶劍干將莫邪之銅質，號稱六鍊，所謂每一鍊並非達到了熔點而已，還要時間醞釀，然後再淘淨滓渣，愈來愈精細！這是真正的工序，紮實的功夫，傳世之作，必有其不可告人之技藝及苦心在。明人項元汴說：［每斤得其精者才四兩耳］，宣爐之成，非易事也！煉丹家金陵子言：［每一斤汞砂鼓鑄了，只得四兩紅銀］，相互呼應矣！自此宣爐的本來面目，呼之欲出，它是偏于紅色的合金銅，而實非黃色的合金銅，爭議多年遲遲未決的真宣之謎，此文一出，雲散霧開，皎月堂空矣！明末劉侗見了真宣說：［迫視如膚内肉色］，肉色豈是黃色？又冒襄也說：［如好女人肌膚］，漂亮女孩子皮膚是粉粉的有血色，又豈是黃臉婆？故有明一代的精品爐，極力仿真宣之力作者，銅質皆偏紅色，宛似現代流行的玫瑰金（18K紅金）的飾品顔色。經過高度冶煉的真宣與同等質量之好爐，已經不能稱其為紅銅，它應稱爲玫瑰金，又稱紅金。玫瑰金之爐必重必美，必如珠寶一般，皮色出奇的瑩潤細膩，而讓人流連，傾心不已！

從清康熙開始，爐中鋅的含量之多，已超過百分之七、八，到了雍正又略增，銅質相比於明代，則稍遜一籌。到了乾隆，鋅的含量均超過了康、雍兩朝，有的在百分之十八到二十一之間，但乾隆卻開創了赫赫不朽工藝，將合金銅加金銀不斷地高度冶煉成燦爛的黃金色，光華奪目，美妙至極，與明代永樂宣德的金銅佛質量，先後輝映，永宣金銅佛之鋅含量在百分之十四至十七之間。乾隆官造爐分量亦夠重，皮色甚麗，銅質似黃金之珍貴，故乾隆之爐稱爲黃金爐，一代偉器也！乾隆官造爐，實千古一絕，可與明代真宣相媲美，千秋霸業，乾隆當之無愧也！但署乾隆本朝製造的款識，真品數量極其稀少，留存至今，難遇而難入藏矣！

為時近六百年宣德爐胎質之謎，此文已一語道破，為廣大之收藏家指出方向，以免歧路亡羊！悔恨莫及！此非數十年的探研收藏無法執筆論述予以評判！無法直指本來面目而令人當下頓悟也！

再論此爐之質量，圓渾厚重，而不笨拙，壯麗可愛，而有神韻，内口徑14.5公分，外口徑17公分，腹徑19公分，高9.5公分，屬爐譜中的中型爐。而此爐之淨重（不含爐蓋與底座）高達3812克，不僅極其壓手，沉重異常，且衡之於明清兩代相同口徑及大小之銅爐，此爐也，可謂獨步天下，罕有其匹者！用十倍放大鏡觀察足底之露銅処，並以試金石測試，其質量燦爛鮮豔，細膩超常，如18K紅金，光華爍鑠，此正是玫瑰金（紅金）之宣德爐也！不但份量夠重，整體恰似珠寶一般貴氣，此非十二錬不為功也！宣爐從六錬開始，質量愈升華，則愈精愈重，到八錬、十錬、十二錬之成品，份量各有不同，比重亦有差異！尤以十二錬之爐重，必然超級而壓手感最強。明清好爐不加鉛冶錬，因鉛軟又易使皮色發黑無光澤，加鉛之爐，雖重亦偽，不可取也！明清好爐，重量即是份量，而重量便是内幕，摸清内幕，始識本質！不去摸清銅質内幕，必陷誤區，不可光以外表皮色為斷，也不可光以名氣而瞎追捧！則名氣之害大矣！有些僞造者特別加厚爐壁來增加重量以冒充明爐，手段陰暗。有的看似玫瑰金，而卻是雜銅或電解銅，須謹慎為要！一般十二錬之紅金爐有些特點，視之不似銅器，按之又覺柔軟，遠望之則水汪汪一片，珠光寶氣，份量奇重，引人遐思而由衷讚嘆！十二錬之玫瑰金爐，通常為皇室所御用，不輕易贈予外人！很難流傳於宮外，民間百聞而難得一見，即使明代宣德之後，各朝鑄爐，十二錬之紅金爐亦屬稀有之物，大部分八錬為多，這是平均值，故明代真正有八錬以上的銅爐，均可稱紅金爐也！從量變到質變，分子化合有強烈震蕩變化，如超凡入聖，寶光四溢，此所以不同凡響，而此爐之稀罕珍貴可知矣！

恰是：
換骨須得真仙丹，脫胎必從質量錬，
銷盡凡渣無塵點，留下紅金驚世間。
（引子焜詩）

結語：
自2000年之後，由於電腦技術的進步，明代有幾種款式的宣爐仿製品，陸續出現在市面上，其中也包括了六牙象耳爐，并注示為明代在出售或拍賣。這些現代仿品，皆形似而神不似！非但古韻不足，包漿不自然，且銅質不對，爐雖重亦偽也！整體藝術及造形內涵之美，遠不如真品，試想想，意大利米開蘭基羅的維納斯石雕像，下巴如果多高仰十度或向下多十度，則完美的藝境，當下變質矣！又一代奇人達芬奇的蒙娜麗莎畫像，倘嘴唇多張開十度，則神秘微笑之藝境，亦悵然若失而判若兩人矣！藝術巔峰之造境，其精妙處，仿製者修為有限，境界有落差，雖藉科技，亦難登其奧，縱極力模仿，必有破綻，不可與明代好爐相提並論也！此爐屬朝堂聖物，非一般清玩之品，其意義為天人合一，且為已知象耳爐中的至尊，份量非同尋常，明宮至寶，自是金聲玉振也。

明代高檔宣德爐，存世量已成為當今最稀少的收藏品之一，遠遠比不上金銅佛像、玉器、書畫及瓷器等種類的數量多。近幾年，由於宣德爐收藏的高熱不退，導致精品也已一爐難求，更何況此爐為珍稀級（高於精品級）瑰寶，更有如海中尋針！從上文長篇剖析，無論從形制、皮色、款識、質量得知此爐皆上上之選，在目前已知所有的象首耳爐當中，敢謂驚豔八方而冠絕一切，誠非虛言也！亦為百年來難得之皇家珍品！此爐若與其他明清高檔之宣德爐同擺一處，即可發現其靈氣與雄渾，其美色與麗質，恰似蛟鳳騰翔，昂然超卓而神資並妙，宛若蓋世才子而鶴立雞群，雖不必定其為真宣，亦直追真宣之風骨矣，亦接近真宣之品貌矣！實是數十年來，在大型拍賣會上少見之聖物也！近幾年，明清銅爐拍賣成交而超過一百萬美金的，已近三十座，而且價格逐年上揚，需求甚殷！宣爐已成為市場的重要焦點。由於官造銅爐距離官窯瓷器的價格，尚有一大段，未來上升的空間仍很大！

西方人以前不太注重銅爐，大多著墨於瓷器之品鑒收藏，自2008年蘇富比以一億多港幣，賣出了明代宣德爐（金製品約一千兩百克）之後，西方人才開始注意，2010年北京又賣出了王世襄兩座明末與清初的銅爐，各約人民幣1500萬左右，乃震驚全世界的收藏家，西方人自此清醒，逐漸轉向宣爐之品藏。今天東西方收藏界皆已猛然覺悟，明清銅爐前程之可貴，將必展現前所未有的飛躍，與瓷器一起逐鹿天下，共創文物風采！

今逢拍賣盛會，此爐隆重登場，必為文博界添一樁盛事矣！知音者將來自東西兩方之奇才異士，有緣者天涯必相聚而共囊盛舉也！手撫此爐而鋒發韻流，目視此爐且瑰放出奇，得真、精、新、稀、神五字古器之極境，五絕在身，誠為稀世國寶，妙絕時物矣！宣德之功，千古風華，舉世驚豔也！