Page 90 - China, 5000 years : innovation and transformation in the arts

"
by Jay Xu, ed. Robert Bagley
(Princeton: Princeton
University Press, 1996).
32. More detailed discussions
of these new foundry
techniques are in So, Eastern
Zhou Ritual Bronzes, chap. 4.2;
and Robert Bagley,
"Replication Techniques in
Eastern Chou Bronze Casting,"
in Steven Lubar and W. David
Kingery, eds., History from
Tilings: Essays on Material
Culture (Washington, D.C. and
London: Smithsonian
Institution, 1993), pp. 234-41.
33. Wenwu, no. 9 (1989),
cpl. 2:1; see also no. 213. 1; So,
Eastern Zhou Ritual Bronzes,
chap. 4.2 and app. i:4G for a
detailed discussion of the
tomb.
34. See Barbara W. Keyser,
"Decor Replication in Two
Late Chou Bronze Chien," Ars
nOrientalis (1979), pp. 127-62;
and Robert Bagley, "What the
Bronzes from Hunyuan TelJ Us
about the Foundry at Houma"
Orientations (July 1995),
pp. 20-36.
35. Zhongguo wenwu jinghua,
no. 49; for a similar type from
Jiangsu Province, see Wenwu,
no. 5 (1984), pi.: left.
^6. Lu Liancheng and Hu
Zhisheng, Baoji Yu Guo mudi, 2
vols. (Beijing: Wenwu
chubanshe, 1988), cpl. 18; the
same tomb also yielded two
bird-shaped vessels (ibid.,
cpl. 19).
37. Wenum, no. 5 (1966), p. 70;
similar bells in the Shanghai
Museum, the Sen'oku
Hakkokan, Kyoto, and the
Arthur M. Sackler Gallery,
Smithsonian Institution, are
discussed in Fong, ed., Great
Bronze Age, no. 58; Rawson,
Western Zhou Ritual Bronzes,
no. 129; and Lothar von
DFalkenhausen and Thomas
Rossing, "Acoustical and
Musical Studies on the Sackler
Bells," in So, Eastern Zhou
Ritual Bronzes, p. 440.
38. For Shang dynasty
prototypes, see Bagley, Shang
Ritual Bronzes in the Sackler
Collections, no. 104; also Lothar
von Falkenhausen, Suspended
Musk: Chime-bells in the Culture
of Bronze Age China (Berkeley
and Los Angeles: University of
California Press, 1993); and
Falkenhausen and Rossing,
"Acoustical and Musical
Studies."
39. Wenwu, no. 9 (19S9), pi. 2:2.
40. For a detailed discussion of
INNOVATION IN ANCIENT CHINESE METALWORK
the type, see So, Eastern Zhou
Ritual Bronzes, nos. 39-40; and
Jenny F. So and Emma C.
Bunker, Traders and Raiders on
Chinas Northern Frontier
(Washington, D.C. and Seattle:
Arthur M. Sackler Gallery,
Smithsonian Institution and
University ofWashington
Press, 1995), no. 20, chap. 3.
41. So, Eastern Zhou Ritual
Bronzes, chap. 6.2, app. i:6D.
Wu42. For cat. 28, see Hung,
"A Sampan Shan Chariot
Ornament and the Xiangrui
Design in Western Han Art
Archives ofAsian Art 37 (1984),
pp. 38-59-
Emma43. This is discussed in
C. Bunker, "Sources of Foreign
Elements in the Culture of
Eastern Zhou," in George
Kuwayama, ed.. The Great
Bronze Age of China: A
Symposium (Los Angeles: Los
Angeles County Museum of
Art, 1983).
44. This is discussed in greater
detail in Jenny F. So, "Hu
Vessels from Xinzheng: Toward
a Definition of Chu Style," in
Kuwayama, Symposium,
pp. 64-71.
45. For cat. 6, see Fong, ed.,
Great Bronze Age, no. 67; So,
Eastern Zhou Ritual Bronzes,
chap. 3.2, app. i:3D; for cat. 11,
see Zhongguo wenwu jinghua,
no. 83, where the pair is
shown; and Rawson, ed.,
Mysteries ofAncient China,
no. 61.
46. For a discussion of lost-wax
casting, see Bagley, Shang Ritual
Bronzes in the Sackler Collections, Bunker, "Gold in the Ancient
chap. 2.6; and So, Eastern Zhou
Ritual Bronzes, pp. 35, 53—54.
47. Fong, ed., Great Bronze Age,
no. 95.
48. Fong, ed., Great Bronze Age,
no. 97; the find is reported in
Yunnan finning Shizhaishan
gumuqunfajue baogao, 2 vols.
(Beijing: Wenwu chubanshe,
1959)-
49. So and Bunker, Traders and
Raiders, pp. 23, 34-35; also
nos. 1, 3, 11.
50. For these later trends and
developments, see So, Eastern
Zhou Ritual Bronzes, chaps. 3.2,
4—6; and Fong, ed., Great
Bronze Age, chaps. 8—9.
51. For a prototype, see an
example in the Asian Art
Museum of San Francisco:
Rene-Yvon Lefebvre
d'Argence, Bronze Vessels of
Ancient China in the Avery
Brundage Collection (San
Francisco: Asian Art Museum,
1977), pi. 43: top left.
52. For examples of such
"archaisms," see So, Eastern
Zhou Ritual Bronzes, nos. 1, 5,
62, 80; Jenny F. So, "The Many
Faces of the Past in Eastern
Zhou Bronzes" (paper
presented at the "Mysteries of
Ancient China" conference,
British Museum, London, 6-8
December 1996); and Li and
Liang, Art of the Houma
Foundr)', pp. 13—14 (English
summary on p. 83).
53. Shaanxi chutu Sluing, no. 52;
and Sanjin kaogu, no. 1 (1994),
PP- r 39-53.pl- 7-
54. For cat. 9, see Zhongguo
kaogu wenwu zhi mei (6):
Zhanguo Xianyu lingmu qizhen,
Hebci Pingshau Zhongshan
guowang mu (Beijing: Wenwu
chubanshe, 1994}, cpl. 56 and
drawings on pp. 156—57 for a
wide range of examples; one of
these is discussed in Fong, ed.,
Great Bronze Age, no. 94.
55. For a study of exotics in
Tang society, see Edward H.
Schafer, The Golden Peaches of
Samarkand: A Study of Tang
Exotics (Berkeley and Los
Angeles: University of
California Press, 1963).
56. Wenbo, no. 5 (1987),
PP- 79— 80, pi. 4: top. This is one
of two identical dragons
recovered in a chance find in
the southern suburb of XTan.
Its mate is damaged beyond
repair.
57. For discussions of gold and
silver as foreign materials in
ancient China, see Emma C.
Chinese World: A Cultural
Puzzle," Artibus Asiae 53,
nos. 1/2 (1993), pp. 27-50; and
Emma C. Bunker, "The
Enigmatic Role of Silver in
China," Orientations
(November 1994), pp. 73-74.
58. Reported in Kaogu yu
wenwu, no. 2 (1988), pp. 94-106;
and Wenwu, no. 10 (1988),
pp. 1-43.
59. See Wenwu, no. 1 (1972),
pp. 30-42; and Kaogu, no. 6
(1980), pp. 536-41.