Page 235 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

Wei was from Ciqi in Zhejiang province, that he 9. See d'Argence, Treasures from the Shanghai
received his jinshi, or doctorate, in 1439, and that Museum, 101, number 82.
he served in Guangdong province during his last 10. The creation and breaking of formal borders
offical career posting. Kerr, Later Chinese Bronzes, is a characteristic apparent in media other than
106, note 43. bronze in the late Ming and early Qing periods;
5. See Ministry of Culture and Information, Sinan for an example in bamboo, see Li and Watt, The
haejoyumul, 130, number 164; 183, number 247. Chinese Scholar's Studio, 115, number 55.
6. Urban Council, Hong Kong, and the Jingdezhen 11. See Kerr, Later Chinese Bronzes, 42, number 29.
Museum of Ceramic History compiler, Imperial 12. Kerr, Later Chinese Bronzes, 3; John Ayers,
Porcelain of the Yongle and Xuande Periods 'Blanc-de-Chine: Some Reflections,' Transactions of
Excavated from the Site of the Ming Imperial Factory the Oriental Ceramic Society (London), 1986-87, 23.
at Jingdezhen, Hong Kong: Urban Council, 1989,
116, number 17. 10
7. See Lion-Goldschmidt, Ming Porcelain, 79, plate
39; 156, plate 137. 1. Will. H. Edmunds, Pointers and Clues to the
8. See Yang Boda, Zhongguo meishu quanji: Jin Subjects of Chinese and Japanese Art, London:
yin boli falang qi, 89, number 170. Sampson Low, Marston and Company, not dated but
9. See Yang Boda, Zhongguo meishu quanji: Jin about 1934, 131 (Hu Yeo and Ch'ao Fu); Herbert A.
yin boli falang qi, 90, number 172. Giles, A Chinese Biographical Dictionary, London:
10. See Yang Boda editor, Zhongguo meishu quanji Bernard Quaritch, and Shanghai and Yokohama:
(The Great Treasury of Chinese Art), volume 3, Kelly and Walsh, 1898, 84-85 (Ch'ao Fu); 311-12 (Hsu
part 9, Gongyi meishu bian: Yuqi (Crafts: Jade), You). The author is indebted to Donald Jenkins,
Beijing, Wenwu chubanshe, 1986, 163, number 286. Curator of Asian Art at the Portland Art Museum,
11. See Kerr, Later Chinese Bronzes, 31-32, figures Portland OR, for identifying the subject matter
17-18. depicted on this vase.
12. Mowry, 'Catalogue,' in Li and Watt, The 2. See Loehr, Ritual Vessels, 75-77, numbers 29-
Chinese Scholar's Studio, 166-67, number 37. 30; Pope and others, The Freer Chinese Bronzes,
volume 1, 79, plate 12; Hayashi, In Shu seidoki
soran, plate volume, 215-44.
C.Y.
Watt
3.
9 Ford, See James Lacquer: The and Barbara Brennan
Florence
Asian
East
Herbert
and
1. For information on the arrow game and its Irving Collection, New York: Metropolitan Museum of
vessels, see Robert Poor, 'Evolution of a Secular Art, 40-43, numbers 1-2.
Vessel Type,' Oriental Art (London), new series 4. See Percival David Foundation, Imperial Taste,
volume 14, number 2, Summer 1968, 98-106; G. 24, number 4; 28-29, number 7; 37, number 13; 40,
Montell, 'T'ou-hu: The Ancient Chinese Pitch-pot number 16.
Game,' Ethos, volume 5, 1940. Much of this entry 5. A query from John D. Cosby of Niagara Falls
has been adapted from a catalog entry that the NY, about the date and place of manufacture of
author wrote on a related touhu vessel in the two vases virtually identical to the Clague vessel
collection of the Shanghai Museum, published in appeared in a recent issue of Arts of Asia, along
Mowry, 'Catalogue,' in Li and Watt, The Chinese with illustrations of the pieces; a note from the
Scholar's Studio, 178, number 63. editor indicated that readers' responses ranged
2. James Legge translator, The Ch'un Ts'ew with from China to Japan and even to Korea as the
The Tso Chuen, volume 5 in The Chinese Classics, country of origin, though no dates were proposed.
reprint by Hong Kong: Hong Kong University Press, See Arts of Asia (Hong Kong), volume 23, number
1960, 638-41, especially 639. 1, January-February 1993, 8.
3. Ch'u Chai and Winberg Chai editors, Li Chi: 6. Verbal communication of Yang Boda to
Book of Rites, New Hyde Park NY: University Books, Robert H. Clague on 7 June 1992 (as translated by
1967, volume 2, 397-401 (translated by James Legge). Kelly Tan). On his visit to the Clague Collection,
4. See Poor, 'Evolution of a Secular Vessel Type,' Mr Yang inspected this vase; he commented that
99, figure 1; 100, figure 3. although such pieces are difficult to date, an attri-
5. See Thomas Lawton, Chinese Figure Painting, bution to the Ming dynasty would be acceptable.
Washington DC: Smithsonian Institution, Freer, When questioned about a more specific date, Mr
Gallery of Art, 1973, 34-37, number 3; Bradley Smith Yang stated that due to lack of dated comparative
and Wan-go Weng, China: A History in Art, NY: material, a more precise attribution would be impos-
Doubleday, not dated but about 1972, 212-13. sible at this time.
6. See Hayashi, The Silk Road and the Shoso-in, 7. See The Arts Council of Great Britain and The
160, figure 188. Oriental Ceramic Society, Chinese Jade Through-
7. See Pope and others, The Freer Chinese out the Ages, London: Arts Council of Great Britain
Bronzes, volume 1, 597, number 118. and Oriental Ceramic Society, 1975, number 438; Ip
8. See Okazaki, Chugoku kodai, 212, number 197. Yee, Chinese Jade Carving (The 8th Festival of
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