Page 248 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

Centuries: Victoria and Albert Museum Catalogue, Keswick, The Chinese Garden: History, Art and Archi-
London: Her Majesty's Stationery Office, 1982, 297, tecture, London: Academy Editions and New York:
number 129. St Martin's Press, 2nd revised edition, 1986, 181-83.
15. See Jenyns and Watson, Chinese Art: The Minor 8. See Ho and others, Eight Dynasties of Chinese
Arts, 73, number 32. Painting, 327-29, numbers 242-43.
16. See Gyllensvard, Chinese Gold, Silver, and Porce- 9. See Percival David Foundation, Imperial Taste,
lain, 100, number 98; 111, number 118. Inspired by 83, number 51; Medley, The Chinese Potter, 249, fig-
Chinese ceramics of the Song dynasty, Korean pot- ure 198; Mowry, Handbook, 82, number 1979.187.1-2.
ters of the Koryo dynasty (918-1392) often placed a 10. Williams, Outlines of Chinese Symbolism and
tiny loop at the top of the handles on their celadon- Art Motifs, 317.
glazed ewers, using them much more frequently 11. The flowers associated with the twelve months
than didtheir Chinese counterparts; see,for example, of the Chinese lunar calendar are plum, peach,
Gompertz, Korean Celadon; Choi and Hasebe, Korai. peony, cherry, magnolia, pomegranate, lotus, pear,
17. See Valenstein, A Handbook of Chinese Ceramics, mallow, chrysanthemum, gardenia, and poppy.
78, number 72a; Mino and Tsiang, Ice and Green 12. Although it translates literally as 'jade hall honor
Clouds, 139, number 52. [and] riches,' yutang fugui translates idiomatically
18. See Fujioka and Hasebe, M/n, 127, number as 'May you enjoy wealth and honor,' since yutang
129. This ogival panel shape persisted into the (jade hall) is a polite substitute for'you.'
seventeenth and eighteenth century, but in altered 13. See Watt, Chinese Jades, 209, number 210.
form; see, respectively, Beurdeley and Raindre, Qing 14. Williams, Outlines of Chinese Symbolism and
Porcelain, 75, plate 105, ewer at right; Brown and Art Motifs, 312-13.
Rabiner, Clear as Crystal, Red as Flame, 63, number 27. 15. For examples of eighteenth-century porce-
19. In this context, it should be noted that a ver- lains decorated with peaches, see Mowry, Handbook,
sion of the ewer with flattened pear shape continued 82, number 1979.188; Percival David Foundation,
to be made into Qianlong times, sometimes in Imperial Taste, 78, number 47; 84, number 52; Li
gold. Such mid-Qing ewers are more organically Yihua, Gugong zhencang Kang Yong Qian ciqi
unified in shape and are more heavily decorated; tulu, 210, number 39; 335, number 16; 344, number
in addition, their covers seldom have the high 25; Ayers and Sato, Shin, 176, number 203; 177,
domes of late Ming and early Qing examples and number 207; 181, numbers 226-27.
their footrings are generally short and splayed. 16. See Percival David Foundation, Imperial Taste,
See Gyllensvard, Chinese Gold, Silver, and Porce- 67, number 37; Medley, The Chinese Potter, 223,
lain, 39, number 29; Royal Academy of Arts, Cata- figure 171.
logue of the International Exhibition of Chinese 17. Li Yihua, Gugong zhencang Kang Yong Qian
Art, 1935-36, London: Royal Academy of Arts, 1935, ciqi tulu, 96-97, numbers 79-80.
195, number 2089. 18. Li Yihua, Gugong zhencang Kang Yong Qian
ciqi tulu, 92-95, numbers 75-78; Oriental Ceramic
27 Society, The Ceramic Art of China, plate 142, number
of
Chinese
206a; Valenstein, A Handbook
Ceramics,
1. Contrast the relatively flat covers of Kangxi- 240, number 243.
period, 'peachbloom-glazed,' seal-paste boxes (of 19. Wujin refers to an evenly distributed, dark black
the type that appear among the 'eight objects for color, be it in ink, metal, ceramic glaze, or ink rub-
the writing table'), for example; see Valenstein, A bing. According to vanGulik,'The term wu-chin (wujin)
Handbook of Chinese Ceramics, 237, number 237; belongs to metallurgy where it stands for a mixture
Ayers and Sato, Shin, 35, number 27; 195, number 254. of about 9 parts copper and 1 part gold, which is
2. See Arts Council of Great Britain, Chinese Jade said to have a dark, purplish lustre. Hence the term
Throughout the Ages, number 458; Watt, Chinese is used also with reference to the lustre of good
Jades, 140, number 116. ink.'Robert H.vanGulik, Chinese Pictorial Art as
3. See Valenstein, A Handbook of Chinese Ceramics, Viewed by the Connoisseur, Rome: Istituto Italiano
267, number 276; 271, number 280. per il Medio ed Estremo Oriente, 1958, reprinted New
4. See Donnelly, Blanc de Chine, plate 54b; Watt, York: Hacker Art Books, 1981, 87, note 1; Mowry,
Te Hua Porcelain, number 25. 'Catalogue' in Li and Watt, The Chinese Scholar's
5. See Percival David Foundation, Imperial Taste, Studio, 163, number 29; 204, note 29/2.
56, figure 27; 57, number 28; Medley, The Chinese 20. An unpublished Kangxi-period porcelain vase in
Potter, plate 5 (opposite 192); Valenstein, A Hand- the collection of the Harvard University Art Museums
book of Chinese Ceramics, 145, number140; Mikami, has a mirror-black glaze with decoration in over-
RydKin Gen, 65, number 52; Margaret Medley, Yuan glaze gilding (accession number 1942.148). Also see
Porcelain and Stoneware, London: Pitman Publish- Beurdeley and Raindre, Qing Porcelain, 160, plate
ing, 1974, plate 48. 223; Ayers and Sato, Shin, 41, number 33; 194, num-
6. See Fujioka and Hasebe, Min, 127, number 129. ber 251; Oriental Ceramic Society, The Ceramic
7. For information on the tree peony, see Maggie Art of China, plate 166, number 241.

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