Page 233 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

8. See Robert J. Maeda, The "Water" Theme in number 33; for additional hu vessels with append-
Chinese Painting,' Artibus Asiae (Ascona, ages, see Hayashi, In Shu seidoki soran, plate
Switzerland), volume 33, number 4, 1971, 247-90. volume, 297-305.
9. See Kuo, Born of Earth and Fire, 87, number 4. See Loehr, Ritual Vessels, 133-35, numbers 58-
68; Hasebe, So, 245, number 288. 59; Fong, The Great Bronze Age, 237, number 62.
10. See Rose Kerr, Later Chinese Bronzes, (Victoria 5. See Loehr, Ritual Vessels, 155-163, numbers 69-
and Albert Museum Far Eastern Series), London: 73; Fong, The Great Bronze Age, 277, number 69;
Bamboo Publishing in association with the Victoria 282, number 73; 292, number 91; 299, number 96.
and Albert Museum, 1990, 42-43, figures 31-32; 58-5, 6. See Fogg Art Museum compiler, Grenville L.
figures 46-47; Rose Kerr, 'Metalwork and Song Winthrop: Retrospective for a Collector, Cambridge
Design: A Bronze Vase Inscribed in 1173,' Oriental MA: Fogg Art Museum, Harvard University, 1969,
Art (London), new series number 32, Summer 1986, 39, number 39.
164-68, figures 1-5. 7. See Mikami Tsugio, Ryo Kin Gen (Liao, Jin and
11. See also Kerr, Later Chinese Bronzes, 47, Yuan), volume 13 in Sekai toji zenshu (Ceramic Art
figure 35. of the World), Tokyo: Shogakukan, 1981,73, number
12. See Hasebe, So, 67, numbers 55-56. 57; 79, number 61; 210-11, numbers 199, 204.
13. See Watt, Chinese Jades, 134-35, number 111. 8. See Percival David Foundation, Imperial Taste,
14. See Mowry, Handbook, 78, number 1979.176; 49, number 23.
Suzanne G. Valenstein, Ming Porcelains: A Retro- 9. See Percival David Foundation, Imperial Taste,
spective, New York: China Institute in America, 51, number 24; 54-58, numbers 27-29; Suzanne G.
1971, 44, number 16; 48, number 20; Percival David Valenstein, A Handbook of Chinese Ceramics,
Foundation of Chinese Art compiler, Imperial New York: Metropolitan Museum of Art, revised
Taste: Chinese Ceramics from the Percival David and enlarged edition, 1989, 122, number 134; 135,
Foundation, San Francisco: Chronicle Books, Los number 131.
Angeles: Los Angeles County Museum of Art, and 10. See Kerr, Later Chinese Bronzes, 42-43, figures
London: Percival David Foundation of Chinese Art, 31-32; 58-59, figures 46-47; Kerr, 'Metalwork and
1989, 63, number 33; Fujioka Ryoichi, and Hasebe Song Design,' 164-68, figures 1-5.
Gakuji, Min (Ming), volume 14 in Sekai Toji Zenshu 11. See Loehr, Ritual Vessels, 63, number 23; 67-69,
(Ceramic Art of the World), Tokyo: Shogakukan, numbers 25-26; 75, number 29; 81, number 32.
1976, 179, number 185; Shanghai Museum compiler, 12. A thermoluminescence (TL) test performed at
Shanghai bowuguan cang ci xuanji (The Shanghai the Research Laboratory for Archaeology and the
Museum: Ceramics), Beijing: Wenwu chubanshe, History of Art, Oxford University, on a sample of cast-
1979, number 76. ing core removed from one of the cylindrical
appendages on this vase confirmed its antiquity.
4 The test certificate, dated 26 October 1990 and bear-
ing the
indicates
signature
Stoneham,
Doreen
of
1. Circular vases with cylindrical appendages on that the sample (number 566k6) was last fired be-
the neck - of the shape indicated in note 2 below tween three hundred and five hundred years ago.
- are frequently pictured as flower vases in Yuan and 13. See Rose Kerr, 'The Evolution of Bronze Style in
early Ming woodblock-printed illustrated books, the Jin, Yuan and Early Ming Dynasties,' Oriental
though it is impossible to ascertain whether such Art (London), new series number 28, Summer 1982,
vases are made of bronze or ceramic ware. In 15, figure 9.
illustrated secular dramas they often appear in 14. See Kerr, The Evolution of Bronze Style,' 150,
pairs on Buddhist altars flanking a ding-shaped figure 10.
censer. Such vases were doubtless used in both reli- 15. See Kerr, 'Metalwork and Song Design,' 171,
gious and secular contexts. See Shanghai Museum figure 10.
facsimile edition of a 1478 woodblock-reprint of 16. See Ministry of Culture and Information, Sinan
Xinbian quanxiang shuochang zuben Hua Guan haejoyumul, 112, number 142; 117, number 146.
Suo chushen zhuan deng sizhong (Newly Compiled, 17. See Ministry of Culture and Information, Sinan
Fully Illustrated Biography of Guan Suo in Four haejoyumul, 117, number 146.
Parts), not paginated, illustrations on front and
back of first page and on front and back of last 5
page, volume 1, in Ming Chenghua shuochang
cihua congkan: Shiliu zhong fu baitu ji chuanqi yi 1. See Machida International Print Museum,
zhong, Shanghai: Shanghaishiwenwu baoguan Chugoku kodai hanga ten, 110, number 13.
weiyuanhui and Shanghai bowuguan, 1973. 2. See Kerr, Later Chinese Bronzes, 29, figure 16.
2. See Rene-Yvon Lefebvre d'Argence editor, 3. See Kerr, 'The Evolution of Bronze Style,' 150,
Treasures from the Shanghai Museum: 6000 Years figure 10.
of Chinese Art, San Francisco: Asian Art Museum 4. See Editorial Committee of the Joint Board of
of San Francisco, 1983, 101, number 82. Directors of the National Palace Museum and
3. See Loehr, Ritual Vessels, 51, number 17; 83, National Central Museum, Three Hundred Master-
2 2 1
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