Page 90 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900
P. 90

in three  vertical  columns  of two  characters  each  (six  characters);  and  that
                       the  calligraphy  of the  mark  should  be  in either  small-seal-script  (xiaozhuan)
                       characters  or standard-script  (kaishu) characters  in the powerful  but  balanced
                       style  of the early Tang  calligrapher  Ouyang Xun  (557-641). As  in all  genuine
                       marks  on works  from  the Xuande  period,  the  character  de  (second  graph
                       in the  name Xuande)  should  omit  the  horizontal  stroke  at  its  center  -  the
                       stroke that ordinarily appears between the 'four' and 'heart' elements  in the
                       dictionary form  of the  character.
                             In  content  and  calligraphic  style,  the  mark  on  the  Clague  censer
                       answers to the above criteria -  as, however, do the majority of Xuande  marks,
                       genuine  as well as spurious,  since the general  characteristics  of such  marks
                       are  well  known.  Although  the  mark  on  this  censer  resembles  those  on
                       genuine  Xuande-period  porcelains 10  and  those  on  several  bronze  censers
                       in the  Palace  Museum, Taipei, that  have some  claim to  authenticity, 11  subtle
                       points  of style  distinguish  it as an imitation,  for  example:  in genuine  marks,
                       the  stroke  that  sweeps  downward  and to  the  right  in the  character  da  is
                       usually  longer  than  the  stroke  that  sweeps  downward  and  to  the  left;  in
                       the  character  ming,  the  vertical  stroke  at  the  left  edge  of  the  'moon'
                       element  usually  projects further  downward than the  bottom  of the  hooked
                       vertical  stroke  at  the  right,  and  the  'sun'  radical  is  typically  smaller  in
                       proportion to the character  as a whole than  in this example;  in the  character
                       xuan,  the  horizontal stroke  between the 'roof'  radical and the  'sun'  element
                       is  usually  shorter  than the top  of the  'sun' element,  and the  character  as  a
                       whole  is  usually  slightly  more  attenuated  than  is the  case  here. The  differ-
                       ences  are  subtle  indeed; just  as this  censer  reflects the  designer's  familiarity
                       with Xuande bronzes, the  mark  reveals  his acquaintance with Xuande  marks.

























               1   10  C H I N A ' S  R E N A I S S A N C E  IN  B R O N Z E
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