Page 249 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

21. Li Yihua, Gugong zhencang Kang Yong Qian 6. See San Francisco Center of Asian Art and Culture,
ciqi tulu, 244, number 73. Osaka Exchange Exhibition, 36, number 11; for infor-
22. Li Yihua, Gugong zhencang Kang Yong Qian mation on Zheng Sixiao, see Li, 'Cheng Ssu-hsiao,'
ciqi tulu, 393-99, numbers 74-80. in Franke, Song Biographies: Painters, 15-23.
7. See Ju-hsi Chou and Claudia Brown,The Elegant
28 Brush: Chinese Painting Under the Qianlong Emperor,
Art
AZ:
Phoenix
1735-1795,
Museum, 1985,
Phoenix
1. During the Tang and Song periods, tea was 168-73, numbers 54-55; 251-53, number 79.
commonly prepared by beating dry, powdered tea 8. See Mowry, Handbook, 83, number 1979.189;
and hot water to a froth in a tea bowl with a Sherman E. Lee, Asian Art: Selections from the Col-
bamboo whisk, in a manner preserved today in the lection of Mr and Mrs John D. Rockefeller Third
Japanese tea ceremony. Ewers for hot water were Collection, Part II, New York: Asia Society, 1975, 60,
thus needed for preparing tea at the table, though number 43.
the teapot per se had not yet come into being. The 9. See Li Yihua, Gugong zhencang Kang Yong
Chinese most likely invented steeped tea, prepared Qian ciqi tulu, 376, number 57; 380, number 61.
by pouring boiling water over whole tea leaves, in
the Yuan or early Ming period; not long thereafter 30
Chinese potters began to produce ceramic pots
specially designed for brewing tea. 1. Wen Zhenheng, Zhangwu zhi, juan 7, 211-12;
2. See Hasebe, So, 34, number 27; 175, figures, 32-33. David, Chinese Connoisseurship, 13, for Chinese
3. See Machida International Print Museum, text, see 338/7a; Mowry, 'Catalogue,' in Li and Watt,
Chugoku kodai hanga ten, 51, illustration second The Chinese Scholar's Studio, 189-90, number 82.
from left at top of page. 2. See Loehr, Ritual Vessels, 75-77, numbers 29-
4. Bennet Bronson and Ho Chuimei, 'Chinese Pewter 30; Delbanco, Art from Ritual, 43-49, numbers 9-12;
Tea Wares,' Arts of Asia (Hong Kong), volume 18, Pope and others, The Freer Chinese Bronzes, vol-
number 6, November-December 1988,106-16. ume 1, 79, number 12.
5. Verbal comment to Robert H. Clague on 7 June 3. See Suzanne G. Valenstein, Ming Porcelains: A
1992 (as translated by Kelly Tan). Retrospective, New York: China Institute in America,
6. Inspired by Chinese ceramics of the Song dynasty, 1970, 85, number 57.
Korean potters of the Koryo dynasty (918-1392) often 4. See Watt, Te Hua Porcelain, not paginated,
incorporated handles segmented to resemble a text figure.
section of bamboo stalk into their celadon wares, 5. See Watt, Te Hua Porcelain, number 24; Donnelly,
in addition to handles shaped to resemble twisted Blanc de Chine, plate 48 B.
rope or twisted vine, using them much more fre- 6. Herbert A.Giles editor and translator, Chuang
quently than did their Chinese counterparts; see, Tzu: Taoist Philosopher and Chinese Mystic, London:
for example, Gompertz, Korean Celadon; Choi, Sun'u George Allen and Unwin, second revised edition,
and Hasebe, Gakuji, Korai. 1926, reprinted 1961, 47.
7. See Watt and Ford, East Asian Lacquer, 90-91, 7. Williams, Outline of Chinese Symbolism and
number 31. Art Motifs, 50-51.
8. Williams, Outlines of Chinese Symbolism and 8. Osvald Siren, Chinese Painting: Leading Masters
Art Motifs, 326-28. and Principles, London: Lund, Humphries, and Com-
9. Keswick, The Chinese Garden, 178-87; Williams, pany, 1956 and 1958, reprinted by New York: Hacker
Outlines of Chinese Symbolism and Art Motifs, 68-69. Art Books, 1973, volume 2, 76-77.
10. Bickford, Bones of Jade, Soul of Ice, 206; Williams, 9. See Percival David Foundation, Imperial Taste,
Outlines of Chinese Symbolism and Art Motifs, 32-33. 72, number 41.
11. See Li Yihua, Gugong zhencang Kang Yong 10. See Ayers and Sato, Shin, 169, number 167;
Qian ciqi tulu, 352, number 33. Palace Museum, Gugong bowuyuan cang ci xuanji,
12. See Valenstein, A Handbook of Chinese Ceramics, number 74.
257, number 260. 11. See Ayers and Sato, Shin, 177, number 206;
Palace Museum, Gugong bowuyuan cang ci xuanji,
Yong
29 number 74; Li Yihua, Gugong zhencang Kang Impe-
Qian ciqi tulu, 219, number 48; Hugh Moss, By
1. See Xuande yiqi tupu, volume 1, juan 9,4-6, recto. rial Command: An Introduction to Ch'ing Imperial
2. See National Palace Museum, Kuan Ware of Painted Enamels, Hong Kong: Hibiya, 1976, plate
the Sung Dynasty, 48-49, plate 19. volume, plate 62.
3. See Hasebe, So, 210, number 214. 12. See Chou and Brown, The Elegant Brush, 247-
4. See Loehr, Ritual Vessels, 123, number 53; 131, 48, number 77.
number 57. 13. Sydney L. Moss, The Second Bronze Age, num-
5. Keswick, The Chinese Garden, 187-88; Williams, ber 98.
Outline of Chinese Symbolism and Art Motifs, 298.

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