Page 254 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

14 5. Wen Zhenheng, Zhangwu zhi, juan 7, 200.
Watt,
C.Y.
6. See James
Basket:
Sumptuous
The
1. See Brown, Chinese Cloisonne, 118-19, number Chinese Lacquer with Basketry Panels, New York:
52; Brinker and Lutz, Chinese Cloisonne, number China Institute in America, 1985, 33, plate 2.
265. The Clague bronze is published: Spink and 7. See Mowry, Handbook, 83, numbers 1979.189;
Son Ltd, compiler, Octagon (London), volume 24, Lee, Asian Art, 60, number 43; Percival David Foun-
number 2, June 1987, 5. dation, Imperial Taste, 83, number 51; 87, number 54.
2. See Claudia Brown and Donald Rabiner, Chinese 8. See Li Yihua, Gugong zhencang Kang Yong
Glass of the Qing Dynasty: The Robert H. Clague Qian ciqi tulu, 355, number 36.
Collection, Phoenix AZ: Phoenix Art Museum, 1987, 9. See Li Yihua, Gugong zhencang Kang Yong
18, number 2; 22-24, numbers 9-14; 27, number 18; Qian ciqi tulu, 323-25, numbers 4-6; 389-90, num-
32, number 28; 36, number 35; 40, number 40. bers 70-71; 395-96, numbers 76-77; 398-99, numbers
3. During his visit to the Clague Collection on 7 79-80.
June 1992, Yang Boda, Deputy Director Emeritus 10. Two related hand warmers have recently been
of the Palace Museum, Beijing, noted that this published, one with a mark reading Pan Xiangfeng
vase is identical to ones still in the Palace collec- zhi (Made by Pan Xiangfeng) and the other with a
tion, indicating that it must have come from one mark reading Pan Xiangli zhi (Made by Pan Xiangli).
of the palaces. Paul Moss, the author who published the two pieces,
4. See Li Yihua, Gugong zhencang Kang Yong read both marks as Pan Xiangli zhi; although simi-
Qian ciqi tulu, 375, number 56; 378, number 59; 397, larly written, feng and li are different characters
number 78 and they are clearly and correctly differentiated in
5. See d'Argence, Treasures from the Shanghai the marks. Given the Chinese custom of assigning
Museum, 101, number 83; Li and Watt, The Chinese the same character to all paternally related, male
Scholar's Studio, 140, number 88. family members of the same generation, that is,
6. See Joint Board of Directors, Kuan Ware of brothers and their male first cousins on the father's
the Sung Dynasty, 39, number 11. side, as the first syllable of the given name, it is
7. See Loehr, Ritual Vessels, 139, number 61; 161- more reasonable to conclude that Pan Xiangfeng
65, numbers 72-74. and Pan Xiangli were brothers or first cousins than
8. See Watt, Chinese Jades, 209-215, numbers it is to conclude that they are the same person, a
210-13, 215-16. person who wrote both marks mentioned above,
9. One was formerly in the Robert H. Clague collec- but wrote his own name incorrectly in one of
tion, now donated to the Phoenix Art Museum them. Since their names and their artistic styles
(accession number 91.204); published: Spink and are similar, it is likely that Pan Xiangfeng and Pan
Son Ltd, compiler, The Minor Arts of China III, Xiangli were two closely related members of the
London, 1987, 78, number 97. The other one, in the same family of metalsmiths. For the mark reading
Uldry collection, is published in Brinker and Lutz, Pan Xiangfeng zhi, see Sydney L. Moss Ltd, The
Chinese Cloisonne, number 304. Second Bronze Age, numbers 79; for the mark
10. See Jenyns and Watson, Chinese Art: The reading Pan Xiangli, see Sydney L. Moss Ltd, The
Minor Arts, 117, number 50. Literati Mode, 309-10, numbers 163.
11. See Sydney L. Moss Ltd, The Second Bronze
41 Age, numbers 79.
12. Most hand warmers lack a separately articulated
1. For background information on the use of foot; instead, the walls turn sharply inward at
hand warmers, see Ulrich Hausmann, 'Keeping something approximating a ninety-degree angle
Warm in a Cold Study: The Warmer' in Sydney L. at the bottom of the container to form a flat base.
Moss Ltd, compiler, The Literati Mode: Chinese 13. See Brinker and Lutz, Chinese Cloisonne,
Scholar Paintings, Calligraphy and Desk Objects, numbers 236, 249-50, 253, 260, 263, 268-69.
London: Sydney L. Moss Ltd, 1986, 311-15.
2. Wen Zhenheng, Zhangwu zhi, juan 7, 200. 42
3. See Li Yihua, Gugong zhencang Kang Yong
Qian ciqi tulu, 161, number 144. 1. See Loehr, Ritual Vessels, 161-63, numbers 72-
4. See Tsang and Moss, Chinese Metalwork, 57- 74; Delbanco, Art from Ritual, 129, number 52.
59, numbers 32-35; Sydney L. Moss Ltd, The 2. See Wang, Han Civilization, 108, numbers 116-
Second Bronze Age, numbers 84-85; Sydney L. 18; 110, number 123.
Moss Ltd compiler, In Scholar's Taste: Documen- 3. See Jenyns and Watson, Chinese Art: The Minor
tary Chinese Works of Art, London: Sydney L. Arts, 101-03, numbers 40-41; 107, number 43; 128,
Moss Ltd., 1983, 227, numbers 159; Sydney L. Moss number 56; Kerr, Later Chinese Bronzes, 17, num-
Ltd, compiler, Emperor, Scholar, Artisan, Monk: ber 4; 23, number 13; Goedhuis, Chinese and
The Creative Personality in Chinese Works of Art, Japanese Bronzes, numbers 77, 80-81.
London: Sydney L. Moss Ltd, 1984, 271, numbers125. 4. Some late Ming and Qing bronzes inlaid in

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