Page 148 - C.T. Loo A paper about his impact and activities in the Chinese art Market
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                       Pelliot observed in the introduction that Chinese catalogues offered valuable information


                       from the philological and epigraphical point of view, but they lacked accurate

                       reproductions of the object (Tch’ou and Pelliot 1924, Introduction). The emphasis on the


                       form and image of the object was reflected in the organization of the catalogue. The two

                       most noticeable places in the catalogue were occupied by objects with forms that were


                       immediately recognizable to Western viewers. The owl-shaped vessel was placed in the

                       first plate, and a statue of a human figure the last. 306  The emphasis on the formal quality


                       of these bronzes was also reflected in the descriptive text. While description in Chinese

                       native catalogues often contains the dimensions, weight and a brief description of the

                                                                             307
                       object’s form mostly for identification purpose (Fig. 45),  Loo’s 1924 catalogue

                       merchandised their attractive appearance. The owl-shaped vessel, for example, was

                       described with highly evocative words such as, “turquoise colour throughout” (Tch’ou


                       and Pelliot 1924, 10), “The precious red stones are inlaid in the eyes…there is a life-like

                       appearance…” (Tch’ou and Pelliot 1924, 9). The eye-catching quality of this vessel is


                       evident in its appearance in the Art News report/advertisement for Loo bronze collection

                                              308
                       and exhibition (Fig. 16).

                           The research materials created around 1939 for the wine vessel yu in the Franck Caro

                       Archive offer another example of how Loo ingeniously combined Chinese and Western,


                       306
                          The Chinese Buddhist deity Guanyin.
                       307  The description for this bronze yu in the catalogue of the Qing dynasty imperial
                       collection Xi qing gu jia reads, “(The image on the) right, the height (of the bronze)
                       including the lid is 9 cun 2 fen, the depth is 5 cun 8 fen, the diameter (the shorter one) is 3
                       cun 5 fen, the diameter (the longer one) is 4 cun 6 fen. The fuwei is 1 chi 9 cun 6 fen. The
                       weight is 115 liang. It has two ears and a handle.” (Lawton 1991, 14)
                       308  “Diplomat Buys an Ancient Chinese Bronze,” Art News, December 13, 1924, see
                       Chapter One, p.57-8.
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