Page 253 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

7. See Loehr, Ritual Vessels, 143, number 63. thus relate to the arrangement of the dragon's
8. See same sources as in note 3 above. body, the pattern of its scales, the shape and
9. See Goedhuis, Chinese and Japanese Bronzes, rhythm of its spinal barbs, and the configuration of
number 71. its claws, rather than to its frontal presentation.
10. See Goedhuis, Chinese and Japanese Bronzes, 26. See, for example, Li Yihua, Gugong zhencang
number 67; Galerie Zacke, compiler, Bronzen aus Kang Yong Qian ciqi tulu, 329, number 10; Oriental
der Ming-Dynastie (1368-1644), Vienna: Galerie Art Gallery, Oriental Works of Art, number 106.
Zacke, 1987, number 48; Xuande yiqi tupu, volume 27. See Goedhuis, Chinese and Japanese Bronzes,
2, juan 14, 4 recto. number 72.
11. See Mikami, Ryo Kin Gen, 217, number 229. 28. See Goedhuis, Chinese and Japanese Bronzes,
12. See Sichuansheng wenwu guanli weiyuanhui, number 72.
Deyangxian wenwu guanli suo (Sichuan Provincial 29. The censer was integrally cast with its deco-
Committee for Antiquities Administration, Deyang ration but its handles were separately cast and
County Division for Antiquities Administration), affixed with tenons and pins. The candlesticks
compilers, 'Sichuan Deyangxian faxian Songdai were cast in at least four parts - base, drip tray,
jiaocang' (A Song-dynasty Storage Cellar Discov- column, and saucer-shaped candle mount - that
ered in Deyang County, Sichuan Province), Wenwu are held together by a long pin that extends
(Bejing), 1984, number 7, 82-84 (84, numbers 9-10). downward from the bottom of the candle mount
13. See Ministry of Culture and Information, Sinan through the other parts; the flattened end of the
haejo yumul, 126-27, numbers 160-61; 176-78, num- pin is visible inside the base. The vases were
bers 240-41. integrally cast except for their c-form handles and
14. See Shanghai Museum facsimile edition of a moveable rings and for their base plates, all of
Chenghua-period woodblock-reprint of Xinbian which were separately prepared and secured into
shuochang Bao Long tu gongan duanwai wupen place with molten metal.
zhuan, not paginated, lower illustration on the front
side of the thirtieth page, and Shanghai Museum 39
facsimile edition of a Chenghua-period wood-
block-reprint of Quanxiang shuochang Shiguan 1. See Watt and Ford, East Asian Lacquer, 108,
Shouqi Liu Dusai shangyuan shiwu ye kandeng number 43.
zhuan, not paginated, upper illustration on the 2. See Valenstein, A Handbook of Chinese Ceramics,
front side of the twenty-second page. 130, number 124.
15. See Machida International Print Museum, 3. See Watt and Ford, East Asian Lacquer, 54-55,
Chugoku kodai hanga ten, 251. number 10; Lee Yu-kuan, Oriental Lacquer Art,
16. See Joint Board of Directors, Blue-and-White New York and Tokyo: Weatherhill, 1971, 134-135,
Ware of the Ming Dynasty, book 6,50-51, number 11. number 68; 162, number 96.
17. See Brown, Chinese Cloisonne, 145, number 4. See Valenstein, Ming Porcelains, 86, number 58;
67; Brinker and Lutz, Chinese Cloisonne, numbers d'Argence, Treasures from the Shanghai Museum,
193-194; 250. 172, number 113 and color plate 37; Medley, The
18. See National Palace Museum, Blue-and-white Chinese Potter, 231, figure 179; Li Yihua, Gugong
Ware of the Ch'ing Dynasty, Hong Kong: Cafa, zhencang Kang Yong Qian ciqi tulu, 241, number
1968, book 2, 66-67, number 23 70; 329, number 10;.
19. See Shanghai Museum facsimile edition of a 5. See Brown, Chinese Cloisonne, 73, number 28;
1478 woodblock-reprint of Xinbian quanxiang Brinker and Lutz, Chinese Cloisonne, numbers 190-91.
shuochang zuben Hua Guan Suo chushen zhuan 6. See Valenstein, A Handbook of Chinese Ceramics,
deng si zhong, not paginated, illustrations on back 149, number 144; Mikami, Ryo Kin Gen, 247, num-
of first page and on front of last page. ber 294.
20. See Brown, Chinese Cloisonne, 145. 7. See Valenstein, A Handbook of Chinese Ceramics,
21. See The Oriental Art Gallery compiler, Oriental 189, number 185; Hayashiya, Trubner and others,
Works of Art, London: Oriental Art Gallery, 1993, Chinese Ceramics from Japanese Collections, 100,
number 76. number 56; Medley, Illustrated Catalogue of Ming
22. William Edward Soothill, A Dictionary of Chinese Polychrome Wares, 33, number 92 and plate 9,
Buddhist Terms, London: Kegan Paul, Trench, number 92.
Trubner, and Company, 1937, 211. 8. A small boss in the outer relief line bordering
23. See Lim and others, Stories from China's Past, the leiwen band around the central medallion
174, plate 68; 180, plate 70 D. raises the possibility that elements of the design,
24. See Lee and Ho, Chinese Art Under the Mongols, the leiwen band, for example, might have been
number 59; Valenstein, A Handbook of Chinese soldered into place. Until resolved, this suggestion
Ceramics, 149, number 144; Mikami, Ryo Kin Gen, will necessarily remain speculation; such specu-
183, number 154; 247, number 294. lation is useful, however, in pointing the way for
25. The frontal dragon first appeared in the mid- future research and laboratory analysis.
sixteenth century; the Qianlong elements of style
T I I E R O B E R T 1 1 . C L A G U E C O L L E C T I O N '2 4 9