Page 81 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900
P. 81

witnessed  by  a jade  deer  holding  a  branch  of  lingzhi  fungus  (Victor  Shaw
       Collection,  Hong  Kong),  a jade  phoenix  with  a  branch  of  fruiting  peach
       (Guanfu Collection,  Hong  Kong),  and  a jade fish with several stalks  of  lotus
       (excavated  from  a Jin-dynasty  site). 10  By the  Ming  dynasty,  the theme  had
       gained widespread  popularity, with numerous and varied animals,  all seem-
       ingly domesticated  and well trained, clutching stalks of auspicious  plants. 11
             Apart  from  its  similarity  to  late  Ming  lacquer  and  jade  boxes,  the
       symmetry  of the design and its clarity of presentation establish the  late  Ming
       date  of this  incense  box,  as  do the  subject  matter  and the  combination  of
       low-relief  decor  and  highly  textured  ground.  With  their  playful  attitudes
       and their  strongly  articulated  spines that  continue  well  into their  tails,  the
       chi dragons  are  closely  akin  in style to  one that  graces  a white jade  plaque
       excavated  in  1966 from  the  Wanli-period  tomb  of  Zhu  Shoucheng 12  and  to
       those  that  embellish  the  top  and  bottom  of  the  bamboo  aromatics  con-
       tainer  carved  by  Zhu Ying  (Zhu  Xiaosong;  active,  late  sixteenth  -  early
       seventeenth  century)  recovered  from the  same  tomb. 13  Popular  in  ceramic
       ware  already  by  the Yuan  dynasty, 14  the  formalized  flower  diapers  that
       texture  the  background  of the  Clague  box  appear  frequently  in the  works
                     15
       of  Hu Wenming.  Also signalling the  late Ming date of this box  is its  reliance
       upon  cold  working  to  create  both  relief  decoration  and  diapered  ground,
       the technique  recalling that  of  Hu Wenming  [see  11]. Thick-walled,  both  box
       and cover were  cast, though the diapering was  incised and the  relief  deco-
       ration  sculptured  with  a  hammer  and  chisel,  which  accounts  for  the  relief
       elements' impeccably straight, vertical sides and for the chatter  marks  along
       their edges.  It is probable  (as  it also  is with the cast works  of  Hu Wenming)
       that  the  principal  decorative  motifs  were  cast  in  relief  but  that  definition
       of form and articulation  of detail were accomplished through cold working.






















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