Page 236 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

Asian Arts), Hong Kong: Urban Council, 1983, 237, 3. Songjiang had risen to prosperity at least by
number 211; 249, number 222; Watt, Chinese Jade, the Yuan and had produced a community of literati
124, number 132; 169, number 143. by the early Ming. Cao Zhao (flourished 1387-1399),
8. Percival David Foundation, Imperial Taste, 46- the early Ming antiquarian and author of Gegu
47, numbers 21-22; 50-51, number 24; 54-55, number yaolun, an important work on the connoisseurship
27; Valenstein, A Handbook of Chinese Ceramics, of Chinese antiquities, was a native of Songjiang,
140, numbers 136; 182, number 179; 193, number for example. By the late Ming, an important and
189; 217, number 208; 219, number 210; 223, number highly influential circle of literati was active there,
215; 227, number 221; 263, number 267. a circle that included Mo Shilong (15397-1587), Dong
9. For a selection of Japanese bronze vases of Qichang (1555-1636), and Chen Jiru (1558-1639). A
the Edo period exhibiting characteristics discussed high government official, Dong Qichang was the
here, see Michael Goedhuis, Chinese and Japanese preeminent figure of the late Ming, and his style
Bronzes: AD 1100-1900, London: Michael Goedhuis/ and theories have shaped the course of Chinese
Colnaghi Oriental, 1989, numbers 92-94, 96-97,105. painting down to the present. He was equally talent-
10. See Goedhuis, Chinese and Japanese Bronzes, ed as a painter, calligrapher, connoisseur, theorist,
number 104. critic, and art historian.
11. Apparently headed for Japan, the Chinese 4. See Li and Watt, The Chinese Scholar's Studio,
merchant ship that sank off the coast of Korea in 118, number 62; Tsang and Moss, Chinese Metal-
1323 carried numerous items of bronze, silver, and work, 63, numbers 43-44.
ceramic ware, among others; see Ministry of Culture 5. National Central Library, compiler, Mingren
and Information, Sinan haejoyumul. For a selection juanji ziliao suoyin (An Index of Ming Biographical
of later Chinese bronzes preserved in Japan, see Materials), Taipei: Guoli zhongyang tushuguan,
Nezu Museum, compiler, Koro (Censers), Tokyo: 1965-66, volume 1, 343.
Nezu bijutsukan, 1972; Baba Ichiro editor, 'Ikebana' 6. L.Carrington Goodrich, 'Ts'ao Chao' (Cao Zhao),
(Flower Arrangement), Ta/yo(Tokyo), 1975, number in L. Carrington Goodrich and Chaoying Fang
12; Tokyo National Museum compiler, Cha no bijutsu: editors, Dictionary of Ming Biography: 1368-1644,
Tokubetsuten (The Art of the Tea Ceremony), Tokyo: New York and London: Columbia University Press,
Tokyo kokuritsu hakubutsukan, 1980; Tokugawa 1976, volume 2, 1297.
Museum and Nezu Museum compilers, Hanaike 7. As reflected in an unpublished example in the
(Flower Vases), Nagoya: Tokugawa bijutsukan, and Grenville L. Winthrop Collection at the Harvard Uni-
Tokyo: Nezu bijutsukan, 1982. versity Art Museums (accession number 1943.52.78),
Han-dynasty silver boxes typically have straight,
vertical walls, squared corners, and lightly domed
11 covers, the covers usually with a stylized floral
1. See, Li and Watt, The Chinese Scholar's Studio, motif composed of four heart-shaped leaves or
74, number 7; National Palace Museum, compiler, petals; a free-turning ring for removing the cover
Wan Ming bianxing zhuyi huajia zuopin zhan (Style often appears at the center of the floral motif.
Transformed: A Special Exhibition of Works by Five 8. See Bo Gyllensvard, Chinese Gold and Silver
Late Ming Artists), Taipei: Guoli gugong bowuan, in the Carl Kempe Collection, Stockholm: Carl
1977, 93, number 010-02; 111, number 018. For a Kempe, 1953, 95-96, numbers 39, 41; 145-46, num-
painting showing a small circular box with censer bers 91-92, 94; 170, number 112; 188, number 121;
(but without vase, spoon, and tongs), see Ho and Kelley, Chinese Gold and Silver, 68-71, numbers 34-
others, Eight Dynasties of Chinese Painting, 374, 38; Jenyns and Watson, Chinese Art: The Minor
number 275. For a reconstructed set and for a Arts, 65, number 27.
detail of a set depicted on a late Ming bronze, see 9. See Gyllensvard, Chinese Gold and Silver, 207,
Gerard Tsang and Hugh Moss, Chinese Metalwork numbers 134-35.
of the Hu Wenming Group (International Asian 10. See Sato Masahiko and Hasebe Gakuji, Zui To
Antiques Fair, Hong Kong, catalog), Hong Kong: (Sui and Tang), volume 11 in Sekai toji zenshu
Andamans East International, 1984, 65, numbers 47- (Ceramic Art of the World), Tokyo: Shogagukan,
48. For an example in lacquer decoration, see Watt 1976, 115, number 95; 152, number 141; 158, number
and Ford, East Asian Lacquer, 77, number 23. 150; 160, numbers 152-53; 251, numbers 229 (left)
2. For information on Hu Wenming, see Tsang and and 230 (right); 262, numbers 240-41; William
Moss, Chinese Metalwork, 33-68; R. Soame Jenyns Watson, Tang and Liao Ceramics, New York:
and William Watson, Chinese Art: The Minor Arts Rizzoli, 1984, 170, numbers 186-87.
(Gold, Silver, Bronze, Cloisonne, Cantonese Enamel, 11. See Hasebe, So, 62, number 51; 184, figures
Lacquer, Furniture, Wood), New York: Universe 45-48; 203, number 194; 275, number 271.
Books, 1963, 90-91; Kerr, Later Chinese Bronzes, 52; 12. See Percival David Foundation, Imperial Taste,
Li Fangwu, Zhongguo yishujia zhenglue (An Intro- 33, number 10; Watson, Tang and Liao Ceramics,
duction to Chinese Artists) (1911), reprinted as Li 77, number 48; 148, number 127; Hasebe, So, 62,
Juanyai, Zhongguo yishujia zhenglue, Taipei: Taiwan number 51.
zhonghua shuju, 1967, juan 1, 6 (verso and recto). 13. See Watt, Chinese Jades, 138-39, numbers 114-15.

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