Page 257 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

East); Heng, in Hunan (South); Hua, in Shaanxi (West); number 29; Ayers, 'Blanc-de-Chine: Some Reflec-
Heng, in Hebei (North); and Song, in Henan (Center). tions,' 23.
For information on the sacred peaks, see E.T.C. 15. See Oriental Ceramic Society of Hong Kong,
Werner, A Dictionary of Chinese Mythology, New Arts from the Scholar's Studio, 179, number 156.
York: Julian Press, 1961, 578-80 (Wu Yo); Kiyohiko 16. SeeTokugawa bijutsukan (Tokugawa Museum),
Munakata, Sacred Mountains in Chinese Art, Urbana- compiler, Bunbogu (Scholars' Desk Materials from
Champaign: Krannert Art Museum, University of the Libraries of the Daimyo), Zohincho 4 (Collection
Illinois, 1991. Catalogue 4), Nagoya:Tokugawa bijutsukan, 1988,63,
5. Yang Boda, Deputy Director Emeritus of the number135;115, number135; vii, number135; Sydney
Palace Museum, Beijing, confirmed this interpreta- L. Moss Ltd, The Second Bronze Age, number 29
tion during his visit to the Clague Collection on 7
June 1992. Although Paul Moss' interpretation of
the scone as an entrance to a Daoist paradise in 50
the liles of the Immortals might have some validity 1. The inscription translates:
a secondary meaning, the primary meaning is On the auspicious twenty-second day of the sixth
clearly that stated in the text above. See Sydney L. [lunar] month of the eleventh year of Jiajing [1532],
Moss, The Second Bronze Age, number 28. the surviving son Wang Shi, together with the sec-
6. See Sato and Hasebe, Zui To, 99, number 76; ond son Wang Baoyou, [along with] Wang Guantian
223, number 181. and Wang Haoxi, dedicated this sculpture, made
7. An unpublished, Zhengde-period blue-and- in East Street, Ningling xian, Henan province, to honor
white porcelain brushrest was given to the Harvard the spirits of their deceased father and mother,
University Art Museums by Mr and Mrs Samuel B. Xin, the third concubine, Weigu of the Zhu clan.
Grimson in 1983 (accession number 1983.49). For This translation is a revised and modified ver-
other examples, see Valenstein, A Handbook of sion of that provided by Professor Ju-hsi Chou of
Chinese Ceramics, 168, number 163; Medley, The Arizona State University, Tempe, in his letter of 2
Chinese Potter, 218, figure 161. March 1988 to Robert H. Clague. I am grateful for
8. See Sothebys London,10 December 1985, sale Professor Chou's assistance.
number 3441A, lot 42; Goedhuis, Chinese and 2. See National Palace Museum, Three Hundred
Japanese Bronzes, number 30. Masterpieces of Chinese Painting, volume 6, num-
9. See Li and Watt, The Chinese Scholar's Studio, ber 295; Machida International Print Museum,
109, number 43. An unpublished late Ming enameled- Chugoku kodai hanga ten, 101, number 14; for infor-
porcelain brushrest in the form of three mountains mation on Chinese portraiture, see Richard Ellis
in the collection of the Harvard University Art Muse- Vinograd, Boundaries of the Self: Chinese Portraits,
ums has dragons striding among the mountains AD 1600-1900, Cambridge and New York: Cambridge
and stylized waves lapping at their bases (acces- University Press, 1992.
sion number 1940.278). 3. See Goedhuis, Chinese and Japanese Bronzes,
10. Mowry, 'Catalogue' in Li and Watt, The Chinese number 1.
Scholar's Studio, 179, number 66. 4. See Machida International Print Museum,Chugoku
11. The results of a thermoluminescence (TL) test kodai hanga ten, 90, number14; 99, number 11.
performed at the Research Laboratory for Archae- 5. That is, separately cast in advance and set into
ology and the History of Art, Oxford University, the main mold with its tenon, so that in casting the
on a sample of casting core removed from inside body, molten metal surrounded the neck and tenon,
two of the peaks are consistent with the attribu- securing them in place by interlock and perhaps
tion proposed here. The test certificate, dated 7 by partial fusion. For information on casting-on, see
June 1991 and bearing the signature of Doreen Chase, Ancient Chinese Bronze Art, 28.
Stoneham, indicates that the sample (number
566s2) was last fired between four hundred and 51
seven hundred years ago.
12. Wen Zhenheng, Zhangwu zhi, juan 7, 201. 1. For information on Guandi, see Giles, A Chinese
13. Reportedly excavated in the Philippines, an Biographical Dictionary, 383-84 (Kuan Yu); Werner, A
unpublished Yuan-period qingbai porcelain water Dictionary of Chinese Mythology, 227-30 (Kuan Yu).
dropper in the form of a silver ingot with an 2. See Oriental Ceramic Society compiler, Chinese
openwork chilong handle is in the collection of the Ivories from the Shang to the Qing, London: Orien-
Harvard University Art Museums (accession number tal Ceramic Society jointly with the British Museum,
1972.324). For a related handle on a Yuan-period 1984, 102-03, numbers 110,112; 107, number 119,
qingbai porcelain cup, see Lee and Ho, Chinese Art 3. See Oriental Ceramic Society, Chinese Ivories,
Under the Mongols, number 110; Gyllensvard, Chinese 105, number 116.
Gold, Silver and Porcelain, 115, number 124. 4. See Oriental Ceramic Society, Chinese Ivories,
14. See Li and Watt, The Chinese Scholar's Studio, 70-71, numbers 52-53; 81, number 72; 85, number 78;
119; number 63; Kerr, Later Chinese Bronzes, 42, 105, number 116.

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