Page 244 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

3. Xuande yiqi tupu, volume 2, juan 19, 3 recto. compilers, Blue-and-white Ware of the Ming
The three fangding with angular corners are pictured Dynasty, Hong Kong: Cafa Company, 1963, book 5,
in volume 1, juan 4, 2 recto; 5 recto; juan 5, 3 recto. 60-61, plate 20.
4. See Xuande yiqi tupu, volume 2, juan 9, 4-6. 17. Introduced into China during the Yuan dynasty,
5. See Xuande yiqi tupu, volume 2, juan 19,6 recto. the bajixiang, or 'Eight Auspicious Emblems,'
6. SeeValenstein,A Handbook of Chinese Ceram- derive from Tibetan Buddhism and must be distin-
ics, 15, number 14; William Watson, Pre-Tang Ceramics guished from the babao, or 'Eight Treasures,'
of China: Chinese Pottery from 4000 BC to AD 600, sometimes translated as 'Eight Precious Objects,'
London and Boston: Faber and Faber, 1991, 70, num- which also ornament Chinese decorative arts of
ber 31; Margaret Medley, The Chinese Potter: A the Yuan, Ming, and Qing dynasties. A native
Practical History of Chinese Ceramics, New York: answer to the foreign 'Eight Auspicious Emblems,'
Charles Scribner's Sons, 1976, 2, figure 1 (frontis- the 'Eight Treasures' feature objects long asso-
piece); 25, figure 11. ciated in China with wealth, culture, power, and
7. See d'Argence, Treasures from the Shanghai well being; although not as rigidly standardized as
Museum, 11, number 21; Fong, The Great Bronze Age, the 'Eight Auspicious Emblems,' the 'EightTreasures'
89, number 9; Loehr, Ritual Vessels, 49, number 16. typically comprise a selection of the following: a
8. See Loehr, Ritual Vessels, 131, number 57; jewel (zhu), one or two coins (q/an), one or two
Hayashi, In Shu seidoki soran, plate volume, 57, lozenges (fangsheng), a painting (hua), a musical
number 86; 65, number 45. stone chime (qing), one or two books (shu), one or
9. See Ministry of Culture and Information, Sinan two rhinoceros horns (xijiao), sometimes in the
haejo yumul, 48, number 49. Inspired by Chinese form of a horn-cup (xijue), a bronze mirror (tongjing),
ceramics of the Song dynasty, Korean potters of an auspicious cloud head (xiangyun), a maple leaf
the Koryo dynasty (918-1392) often incorporated (hongye), a banana leaf (jiaoye), an artemisia or
twisted-rope or twisted-vine handles into their yarrow leaf (a/ye), a ding tripod vessel (ding), a
celadon wares, using them much more frequently branch of lingzhi fungus (lingzhi), and an ingot of
than did their Chinese counterparts; see, for gold or silver (yuanbao). Both the 'Eight Auspicious
example, G.St.G.M. Gompertz, Korean Celadon Emblems' and the 'Eight Treasures' must also be
and Other Wares of the Koryo Period, London: distinguished from the 'Eight Attributes of the
Faber and Faber, 1963; Choi Sun'u and Hasebe Scholar,' the 'Eight Musical Instruments,' and the
Gakuji, Korai (Koryo), volume 18 in Sekai toji attributes of the Eight Immortals; since the last
zenshu, Tokyo: Shogakukan, 1978. three categories are only infrequently represented
10. See Ministry of Culture and Information, Sinan in the decorative arts, they are not enumerated
haejo yumul, 123-24, numbers 154, 156-57; 172, here. For further information see Zhou Lili, 'Ciqi
number 234. bajixiangwen xintan,' 312-13; Williams, Outlines of
11. See Brown, Chinese Cloisonne, 25, number 4; Chinese Symbolism and Art Motifs, 155 (Eight
Helmut Brinker and Alber t Lutz, Chinese Treasures); Brinker and Lutz, Chinese Cloisonne:
Cloisonne: The Pierre Uldry Collection, New York: The Pierre Uldry Collection, figures 73-84.
Asia Society Galleries, 1989, numbers 42, 53 (trans- 18. See Zhou Lili, 'Ciqi bajixiangwen xintan,' 321,
lated by Susanna Swoboda). number 3; 323, number 18; 324, 19-21; d'Argence,
12. See James C.Y. Watt, An Exhibition of Te Hua Treasures from the Shanghai Museum, 50, color
Porcelain, Hong Kong: Art Gallery, Institute of plate 30.
Chinese Studies, Chinese University of Hong Kong, 19. See Brown, Chinese Cloisonne, 111, number 48;
1975, numbers 49-50. National Palace Museum, Masterpieces of Chinese
13. See, d'Argence, Treasures from the Shanghai Tibetan Buddhist Altar Fittings in the National
Museum, 76, number 18; Li and Watt, The Chinese Palace Museum, Taipei: National Palace Museum,
Scholar's Studio, 138, number 84; Fong, The Great 1971, number 19; Marylin M. Rhie and Robert A.F.
Bronze Age of China, 39, figure 7; 92-93, number Thurman, Wisdom and Compassion: The Sacred
11; 160-61, number 28; 228, number 54. Art of Tibet, San Francisco: Asian Art Museum of
14. See d'Argence, Treasures from the Shanghai San Francisco and New York: Tibet House in
Museum, 100, number 80; Valenstein, A Handbook association with Harry N. Abrams Inc, 1991, 280-81,
of Chinese Ceramics, 147, number 142; Medley, number 103; 338-40, number 134; 382, number 159;
The Chinese Potter, 120, figure 82. Zhou Lili, 'Ciqi bajixiangwen xintan,' 329, number
15. See Ministry of Culture and Information, Sinan 46; Hemmi Baiei, Chugoku Ramakyo bijutsu taikan
haejoyumul, 73, number 87. (An Overview of Chinese Lamaist Art), Tokyo:
16. See Zhou Lili, 'Ciqi bajixiangwen xintan,' (New Tokyo bijutsu, 1975, volume 1, 452, numbers 894-95.
Light on the Bajixiang Motif in Chinese Ceramics), 20. See, for example, d'Argence, Treasures from
Shanghai bowuguan jikan (Bulletin of the Shanghai the Shanghai Museum, 50, color plate 30; 163-64,
Museum) (Shanghai), number 4, 1987, 324, number number 92, which pictures a fourteenth-century
24; Riddell, Dated Chinese Antiquities, 81, number molded blue-and-white plate decorated with the
56; The Joint Board of Directors of The National 'Eight Auspicious Emblems' motif, including conch
Palace Museum and the National Central Museum, shell, flower, wish-granting jewel, cloud head,

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