Page 242 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

the combination of Shisou mark and Xuande mark Clague that this is a standard Qing manifestation
on this censer. See The Oriental Ceramic Society of the Shisou style.
of Hong Kong, Arts from the Scholar's Studio, 178, 11. See P.J.Donnelly, Blanc de Chine: The Porcelain
number 157. of Tehua in Fukien, New York and Washington DC,
17. Technical analysis and comparison of the wire 1969, plate 52b (center).
used for the Shisou mark and that used for the
fine-line inlay might shed light on the problem. 18
Differences in the composition of the alloys, espe-
cially differences in trace elements, would suggest 1. See, for example, Li and Watt, The Chinese
that the mark was added at a later date. Similar- Scholar's Studio, 140, number 88; Hasebe, So, 60,
ities in the alloys would be less revealing, as they number 49; National Palace Museum, Kuan Ware
could indicate that the mark was inlaid at the same of the Sung Dynasty, 39, plate 11.
time or merely that the same recipe for alloy pro- 2. See Hasebe, So, 77, number 67; 79, number 70;
duction was used over a long period of time. 91, number 82; 205, number 201; 208, numbers 207-
18. During his visit to the Clague Collection on 7 10; National Palace Museum, Ju Ware of the Sung
June 1992, Yang Boda commented to Robert H. Dynasty, 30-33, plates 3-4; National Palace Museum,
Clague that this is the working assumption of the Kuan Ware of the Southern Sung, book 1, part 1,
specialists in the Palace Museum, Beijing. 70-71, plate 20.
19. See Tsang and Moss, Chinese Metalwork, 36, 3. See Ayers and Sato, Shin, 34-35, number 27;
number 3. Valenstein, A Handbook of Chinese Ceramics, 237,
20. See National Palace Museum, compiler, Qing numbers 231-38.
Kang, Yong, Qian mingci tezhan (Catalogue of a 4. See Valenstein, A Handbook of Chinese Ceramics,
Special Exhibition of Kangxi, Yongzheng, and 237, number 231; Ayers and Sato, Shin, 34, number
Qianlong Porcelains from the Qing Dynasty in the 27 (right); Li Yihua editor, Gugong zhencang Kang
National Palace Museum), Taipei: Guoli gugong Yong Qian ciqi tulu (Qing Porcelain of the Kangxi,
bowuyuan, 1986, 123, number 107. Yongzheng, and Qianlong Periods from the Palace
Museum Collection), Hong Kong: Forbidden City
Publishing House and Woods Publishing Company,
17 1989, 137, number 120.
1. Visually powerful, the ancient clerical script 5. Mary Gardner Neill, 'The Flowering Plum in
(lishu) relies upon brushstrokes of modulated the Decorative Arts,' in Maggie Bickford and others,
width for dramatic effect; since it loses much of its Bones of Jade, Soul of Ice: The Flowering Plum in
force when written with lines of even width, Chinese Art, New Haven CT: Yale University Art
clerical script is not the most appropriate for silver- Gallery, 1985, 206.
wire inlay. Interested in a variety of ancient scripts, 6. Mowry, 'Catalogue,' in Li and Watt, The Chinese
scholars of the late Ming and Qing periods no Scholar's Studio, 155, number 20.
doubt found the use of clerical script on articles 7. Mowry, 'Catalogue,' in Li and Watt, The Chinese
for the studio to be charming, however. Scholar's Studio, 155, number 20.
2. See Wang Zhongshu, Han Civilization, New 8. See Li Yihua, Gugong zhencang Kang Yong
Haven and London: Yale University Press, 1982,110, Qian ciqi tulu, 77; number 60; 108, number 91;
figure 124 (translated by K.C. Chang and others). Percival David Foundation, Imperial Taste, 118,
3. See Loehr, Ritual Vessels, 155-59, numbers 69-71. figure 4; Michel Beurdeley and Guy Raindre, Qing
4. See Watt and Ford, East Asian Lacquer, 138, Porcelain: Famille Verte, Famille Rose, London:
number 62. Thames and Hudson, 1987, 112, number 160 (trans-
5. See Pope and others, The Freer Chinese Bronzes, lated by Charlotte Chesney).
volume 1, 229, number 40; The Freer Gallery of Art 9. See Mowry, Handbook, 70, number 1979.153;
compiler, The Freer Gallery of Art, volume 1 China, Percival David Foundation, Imperial Taste, 62,
Tokyo: Kodansha, not dated (but about 1972), 21, number 32; Valenstein, A Handbook of Chinese
number 5. Ceramics, color plate 22; Maggie Bickford and
6. See Gyllensvard, Chinese Gold and Silver, 154- others, Bones of Jade, Soul of Ice, 208-13, numbers
55, number 99. 94, 97-101.
7. See Goedhuis, Chinese and Japanese Bronzes, 10. See Kerr, Later Chinese Bronzes, 64, figure 50.
number 41. 11. See Ayers and Sato, Shin, 50-51, numbers 41 -42;
8. See Mikami, Ryo Kin Gen, 62-63, numbers 49- 107, number 117; 183, number 233; Li Yihua, Gugong
51; Percival David Foundation, Imperial Taste, 54- zhencang Kang Yong Qian ciqi tulu, 221, number 50;
55, number 27. 330, number 11; 344, number 25; 360, number 41; 364,
9. Mowry, 'Catalogue,' in Li and Watt, The Chinese number 45; National Palace Museum, Qing Kang,
Scholar's Studio, 179, number 66. Yong, Qian, 150, number 135; Margaret Medley,
10. On his visit to the Clague Collection on 7 June Illustrated Catalogue of Ming Polychrome Wares,
1992, Yang Boda, Deputy Director Emeritus of the London: Percival David Foundation of Chinese Art,
Palace Museum, Beijing, commented to Robert H. University of London, 1978, 50, number 164; plate
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