Page 258 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

14 Museum, Three Hundred Masterpieces of Chinese
Painting, volume 5, number 204.
1. Published: Sydney L. Moss, The Second Bronze 5. See Lim and others, Stories from China's Past,
Age, number 8. 138, figure 9; 141, number 47; 144, number 49.
2. In addition, those Tang horses with a molded 6. See Li and Watt, The Chinese Scholar's Studio,
groove along the upper part of the spine and a 97, number 28; Lawton, Chinese Figure Painting, 84,
circular perforation in place of a tail are thought to number 15.
have been outfitted with manes and tails made 7. See Goedhuis, Chinese and Japanese Bronzes,
from horse hair. numbers 1, 4.
3. See Oriental Ceramic Society, Chinese Ivories, 8. See Kerr, Later Chinese Bronzes, 81, number
34, number 15; 99, number 105. 63; Goedhuis, number 25; Sydney L. Moss, The
4. See Goedhuis, Chinese and Japanese Bronzes, Second Bronze Age, numbers 10-11, 18, 19.
number 3.
5. Yang Boda mentioned the unpublished piece
and its attribution during his visit to the Clague
Collection on 7 June 1992. 1. Published: Skinner Inc, compiler, Oriental Works
of Art (catalog of an auction held in Bolton MA, on
53 Friday 22 February 1991; sale number 1366), Bolton
240.
MA: Skinner
Inc,
1991, lot
1. Published: Sydney L. Moss, The Second Bronze 2. Benevolent Buddhist deities, bodhisattvas
Age, number 9. (Chinese, pusa) are enlightened beings who have
2. Although it has been suggested that they postponed entry into final nirvana in order to
represent the figure's name, Xiao Han, the last assist other sentient beings in attaining enlighten-
two characters should more probably be read as a ment. Hallmarks of Mahayana Buddhism, bodhisattvas
noun, xiaohan, a reference to the heavens; reading are usually presented in the guise of an Indian
the characters as a name destroys the symmetry prince, since the Historical Buddha, Sakyamuni, was
of the two lines of linked verse. See Sydney L. born a crown prince and lived in a royal palace in
Moss, The Second Bronze Age, number 9. the foothills of the Himalayas before taking up the
3. Sydney L. Moss, The Second Bronze Age, religious life. Bodhisattvas typically wear an array
number 9. of silken scarves over the chest and an ankle-
4. For a painting, now in the Metropolitan Museum length dhoti of rich brocade about the waist and
of Art, New York, by Qiu Ying (1494/95-1552) legs; they usually have long hair arranged in an
representing 'The Five Star Gods and the Twenty- elaborate coiffure and they often wear a wealth of
eight Constellations,' see Sothebys New York, 5 jewelry, from crowns and hair ornaments to neck-
December 1985; sale number 5406, lot 86. laces and earrings to bracelets and anklets. For
5. See Ho and others, Eight Dynasties of Chinese information on the White-robed Guanyin, see: John
Painting, 7, number 5; Thomas Lawton, Chinese M. Rosenfield and Elizabeth ten Grotenhuis, Journey
Figure Painting (volume 2 of Freer Gallery of Art of the Three Jewels: Japanese Buddhist Paintings
Fiftieth Anniversary Exhibition), Washington DC: from Western Collections, New York: The Asia
Smithsonian Institution, 1973, 156-59, number 38. Society in association with John Weatherhill Inc,
6. See Sothebys, New York, 1 December 1992, 1979, 175-79, numbers 52-53; Ho and others, Eight
sale number 6370, lot 219; Oriental Ceramic Society, Dynasties of Chinese Painting, 84-85, number 66;
Chinese Ivories, 102-03, numbers 110, 112; 106-07, Jan Fontein and Money L. Hickman, Zen Painting
numbers 118-19; Donnelly, Blanc de Chine, plates and Calligraphy, Boston: Museum of Fine Arts,
147d and 157 (lower right). 1970, 47-49, number 19; 79-87, numbers 35-36; Jan
7. See Machida International Print Museum, Fontein, The Pilgrimage ofSudhana,The Hague: E.J.
Chugoku kodai hanga ten, 77; 94, number 1; 205, Brill, 1966. The thirty-three manifestations of Guanyin
number 22; 218, numbers 8-9. are described in the Gandha-vyuha (Chinese,
8. Unpublished; Field Museum of Natural History Huayan jing), a principal text of the Avatamsaka
catalogue number 120151. (Chinese, Huayan) sect of Buddhism.
3. The urna (Chinese, guanghao) is an auspicious
54 mark that appears on the forehead of deities and
is variously interpreted as a tuft of hair or as a
1. Medley, The Chinese Potter, 223, figure 169. third eye; it is one of the thirty-two major signs of
2. See Kerr, Later Chinese Bronzes, 81, number 63. a Buddha, though it appears on the foreheads of
3. See Goedhuis, Chinese and Japanese Bronzes, Buddhist deities other than Buddhas.
number 4. 4. Ho and others, Eight Dynasties of Chinese
4. See Ho and others, Eight Dynasties of Chinese Painting, 84, number 66.
Painting, 9, number 6; Lawton, Chinese Figure 5. Rosenfield and ten Grotenhuis, Journey of the
Painting, 200, 203, number 51; National Palace Three Jewels, 175, number 52.

2 5 0
C H I N A ' S R E N A I S S A N C E I N B R O N Z E