Page 180 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

The shape of this vase derives ultimately from the long-necked,
bottle-like variant of the hu that was popular in both bronze 1 and ceramic
ware 2 during the Han dynasty. Although this interpretation of the hu
disappeared after the fall of Han, it found renewed popularity during the
Southern Song, as illustrated by a variety of examples in ceramic ware 3
and bronze [3]. Han-dynasty examples are typically of circular section, but
Southern Song ceramic examples include both circular and faceted ones,
the faceted ones usually octagonal in section. In the Clague vase, the inter-
pretation of the shape may have been influenced by a rare variety of faceted
blue-and-white porcelain vase that was produced during the Xuande
period. 4 Except for those made in direct imitation of ancient bronzes,
square and polygonal vessels were relatively uncommon during the Ming
and Qing; they did, however, enjoy limited popularity during the Kangxi
era, 5 as potters and bronze casters explored new shapes and decorative
schemes, providing a context for this vase.
Regarded as an emblem of purity and perfection because of its asso-
ciation with the Buddhist church, the lotus also symbolizes summer, standing
alongside the peony, chrysanthemum, and plum as one of the flowers of
the four seasons [see 19]. Popular in the secular decorative arts since Tang
and Song times, the lotus was often depicted on ceramics of the Kangxi
period. 6 Described in outline fashion, the lotus blossoms on this vase are
close in style to those in Kangxi-period representations of the bajixiang, or
'Eight Auspicious Emblems' 7 [see discussion, 20].
The shape and decoration of this vase are fully consistent with its
Kangxi date. The background of the floral register, punched with a pointed
implement rather than with a ring punch, also reflects the Kangxi taste for
finely textured grounds [see 32, 33]. In addition, with their scalloped edges
and scrolling cloud form, the handles recall the the moveable rings on the
Clague Collection baluster vase with bamboo decor [31].
The foot and base were integrally cast with the vessel itself. Lacking
rivet heads and traces of metal at their points of attachment that would
indicate they were affixed with solder (or molten bronze), the handles may
have been integrally cast with the vase or they may have been cast-on,
that is, separately cast in advance and set into the main mold, so that in
8
casting the vessel molten metal surrounded the handles' anchor plates. The
floral decoration and reign mark were created entirely through cold work-
ing. The thick coating that imparts the rich rust-brown color prevents
detailed study of the vessel surface; the method by which the gold flecks
were applied thus also remains unknown.

176 10 C H I N A ' S R E N A I S S A N C E IN B R O N Z E