Page 231 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

1119) that revives the Tang blue-and-green man- Sekai toji zenshu (Ceramic Art of the World),
ner; it gained strength during the Southern Song Tokyo: Shogakukan, 1977, 80, number 71; 207,
in the blue-and-green landscapes of the brothers numbers 205-06.
Zhao Boju (died about 1162) and Zhao Bosu (1124- 10. In her letter of 12 February 1990 to Robert H.
1182) and asserted itself as a mainstream phe- Clague, Chen Peifang, Curator of Bronzes at the
nomenon during the Yuan in the works of Qian Shanghai Museum, stated that on the basis of
Xuan (about 1235-after 1301) and Zhao Mengfu photographs, she believes this hu to be from the
(1254-1322), who explored not only Tang blue-and- Song dynasty, citing this combination of charac-
green landscapes but the ink landscapes of such teristics as evidence.
Five Dynasties masters as Dong Yuan (died 962) 11. Although bronzes were avidly collected and
and Juran (active 960-980). cataloged during the Song, scholarly study of their
inscriptions and dating was still in its infancy. With
the understanding that twentieth-century archae-
ology and scientific analysis have given us, we are
1 generally in a better position to distinguish old
1. For hu vessels with strapwork decoration, see vessels from new ones and to assign dates and
Higuchi Takayasu, Sho Shu no doki (Shang and places of manufacture than were people of the
Zhou Bronzes), Nezu bijutsukan zdhin shirizu 2 Song (and Yuan, Ming, and Qing).
(Nezu Museum Collection Series 2), Tokyo: Nezu
bijutsukan, 1986, not paginated, number 20; Nezu 2
Museum, compiler, Nezu bijutsukan meihin mokuroku
(Treasures of the Nezu Museum), Tokyo: Nezu 1. See Robert D. Mowry, Handbook of the Mr
bijutsukan, 1974,155, number 589; Hayashi Minao, In and Mrs John D. Rockefeller Third Collection, New
Shu seidoki soran: In Shu jidai seidoki no kenkyu York: Asia Society, 1980, 52, number 17.1; Wen
(Conspectus of Yin and Zhou Bronzes: Studies on Fong editor, The Great Bronze Age of China: An
Yin and Zhou Bronzes), Tokyo: Yoshikawa kobunkan, Exhibition from the People's Republic of China,
1984, plate volume, 301-07. New York: Metropolitan Museum of Art and Alfred
2. See W. Thomas Chase, with the assistance of A. Knopf, 1980, 298, number 95.
Jung May Lee, Ancient Chinese Bronze Art: Casting 2. See Yang Boda editor, Zhongguo meishu quanji
the Precious Sacral Vessel, New York: China Insti- (The Great Treasury of Chinese Art), volume 3,
tute in America, 1991, 57, number 20; Max Loehr, part 10, Gongyi meishu bian: Jin yin boli falang qi
Ritual Vessels of Bronze Age China, New York: Asia (Crafts: Articles of Gold, Silver, Glass, and Enamel),
Society, 1968, 132-33, number 58. Beijing, Wenwu chubanshe, 1987, 28, number 58.
3. See Max Loehr, assisted by Louisa G. Fitzgerald 3. See Yutaka Mino, with the assistance of Katherine
Huber, Ancient Chinese Jades from the Grenville R. Tsiang, Freedom of Clay and Brush through
L. Winthrop Collection in the Fogg Art Museum, Seven Centuries in Northern China:Tz'u-chou Type
Harvard University, Cambridge MA: Fogg Art Wares AD 960-1600, Indianapolis: Indianapolis Museum
Museum, Harvard University, 1975, 249-50, number of Art, and Bloomington: Indiana University Press,
372-74; 255-56, number 382-83. 1980, 73, number 24; 75, number 25.
4. See Dawn Ho Delbanco, Art from Ritual: 4. See Hasebe, So, 46, number 38; 47, number 39;
Ancient Chinese Bronze Vessels from the Arthur Elinor L. Pearlstein and James T. Ulak, Asian Art in
M. Sackler Collections, Cambridge MA: Fogg Art The Art Institute of Chicago, Chicago: Art Institute
Museum, Harvard University, and Washington DC: of Chicago, 1993, 60.
Arthur M. Sackler Foundation, 1983, 127, number 5. For more information on these phenomena,
51; 133, number 54; and 142, number 59. see Chu-tsing Li and James C.Y. Watt editors, The
5. Max Loehr, 'The Emergence and Decline of Chinese Scholar's Studio: Artistic Life in the Late
the Eastern Chou Decor of Plastic Curls,' in Loehr, Ming Period, New York: Thames and Hudson in
Ancient Chinese Jades, 21-28. association with the Asia Society, 1987.
6. See Chase, Ancient Chinese Bronze Art, 61, 6. Robert D. Mowry, 'Catalogue,' in Li and Watt,
number 24; 62, number 25; 63, number 26; and 65, The Chinese Scholar's Studio, 177, number 62; 189-
number 28. 90, numbers 82-83.
7. See Higuchi, Sho Shu no doki, not paginated, 7. See Mowry, Handbook, 52, number 1979.107;
number 21; Nezu Museum, Nezu bijutsukan meihin Loehr, Ritual Vessels, 175, number 8 (termed a
mokuroku, 155, number 59. lien); James C.Y. Watt, Chinese Jades from Han to
8. See, for example, William Watson, 'On Some Ch'ing, New York: Asia Society in association with
Categories of Archaism in Chinese Bronze,' Ars John Weatherhill, 1980, 155, number 127.
Orientalis (Washington DC), volume 9, 1973, 3-13; 8. Wang Zhenduo, 'Zhang Heng houfeng diyung
Zhou Zheng, 'Xuanhe shanzun kao' (Research on yi di fuyuan yanjiu (xu)' (The Restoration of the
the Xuanhe-period Shan Zun), Wenwu (Beijing), Zhang Heng houfeng didung yi continued),
1983, number 11, 74-75 and 67. Wenwu (Beijing), 1963, number 4, 1-20; Guo Yong,
9. See Hasebe Gakuji, So (Song), volume 12 in 'Shanxisheng Youyu-xian chutu di Xi Han tongqi'
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