Page 51 - Christie's Chinese Works of Art March 24 and 25th, 2022 NYC

famous terminal—perhaps representing the head of a deer-like quadruped— 1 See plates 1 and 2 in Wang Zhenduo, “Zhinanche jili guche zhi kaozheng ji mozhi”
that was excavated at a Wei-state cemetery at Guweicun, Huixian, Henan [Research and modeling of the drum cart and the guide cart], 1937, reprinted in
province, in 1951 and now displayed in the National Museum of China, Wang Zhenduo, Keji kaogu luncong [Papers in Technical Archaeology], (Beijing:
Beijing. The most compelling Warring States-period examples were Wenwu chubanshe), 1989, pp. 1-40 and plates 1-3.
6
unearthed at Jincun, near Luoyang, Henan province, and include both the gilt 2 The painting, in ink and colors on silk, came from Mogao Cave 17 at Dunhuang.
and silver-inlaid bronze, bull-head terminal in the British Museum, London See: Susan Whitfield, The Silk Road: Trade, Travel, War and Faith (London: British
7
(1934,0216.3), and the gilt and silvered bronze, dragon-head terminal in Library), 2004, plate 62.
the U.S. National Museum of Asian Art’s Freer Gallery, Washington, DC 3 For information on chariots in early China, see: Edward L. Shaughnessy, “Historical
8
(F1932.14a-c), which is the direct antecedent of the present terminal. (Fig. 2) Perspectives on The Introduction of The Chariot Into China”, Harvard Journal of
Asiatic Studies, vol. 48, no. 1 (June, 1988), pp. 189-237; Hsiao-yun Wu (also spelled
Despite its descent from Warring States-period forerunners, this gilt bronze Wu Xiaoyun, also known as Dawn Wu), Chariots in Early China: Origins, Cultural
terminal is remarkably similar in style to the Western Han gilt bronze dragon- Interaction, and Identity (Oxford, UK: Archaeopress), 2013; Sun Ji, “Zhongguo gu
form fitting excavated in 1987 from a Han tomb at Dongquan, Changle duzhou mache de jiegou” [Structure of the ancient Chinese single-shaft chariot],
county, Shandong province, confirming its second to first century BC Wenwu, 1985, vol. 8, pp. 25-40; Hayashi Minao and Okamura Hidenori, Chūgoku
9
origins. The long snout and bulging eyes set beneath high, arched brows find kodai shaba kenkyū [The horse chariot in ancient China] (Kyoto: Rinsen Shoten), 1st
parallels in both the excavated example and in the Western Han gilt bronze edition, 2018; Liu Yonghua, Zhongguo gudai che yu ma ju [Ancient Chinese chariot
dragon that Eskenazi exhibited in New York in March and April 2000, as do and horse fittings], (Shanghai: Shanghai Cishu chubanshe), 2002.
the tufts of fur at the back of the jaw and the U-shaped scales, each with a 4 For information on early Chinese chariot fittings, see: Wu Xiaoyun (also spelled
10
dot at its center, that enliven the neck. And this dragon’s out-turned upper Wu Hsiao-yun, also called Dawn Wu), “Shang zhi Chunqiu shidai zhongyuan diqu
lip, long ears, large eyes under arched brows, tufts of fur at the end of the qingtong chema qixingshi yanzhou” [Typology Study on Chariot Fittings of Early
jaw, and dotted, U-shaped scales also find kinship in those of a Western Han China], Gudai wenming, vol. 1, 2002, pp. 180-277.
cold-painted, earthenware tomb sculpture representing a winged beast, or 5 See: Liu Yonghua, “Pre-Qin single-shaft chariots”, chapter two in Liu, Zhongguo
chimera, in the collection of the Art Institute of Chicago (1997.337). 11 gudai che yu ma ju, 2002, p. 20, fig. 2-18; also see Wu Xiaoyun “Shang zhi Chunqiu
shidai zhongyuan diqu qingtong chema qixingshi yanzhou”, 2002, p. 203, fig. 15, and
From the collection of Jonathan Benthall and Zamira Menuhin Benthall, p. 237, fig. 42 (2).
this terminal has a distinguished provenance and an esteemed record of 6 See: Institute of Archaeology, Chinese Academy of Sciences, ed., Huixian fajue
exhibition and publication. Noted anthropologist Jonathan Benthall, son baogao [Report on the Huixian excavations], 1st edition, Zhongguo tianye kaogu
of Sir Arthur Paul Benthall (1909–1992), was Secretary of the Institute baogao ji [Reports on Field Archaeology], vol. 1, (Beijing: Science Press), 1956, color
Contemporary Arts, London, from 1971 to 1973 and served as the Director of frontispiece and p. 78, pl. 50.
the Royal Anthropological Institute, London, between 1974 and 2000. Long 7 See: Jessica Rawson, Chinese Bronzes: Art and Ritual (London: British Museum
a staunch advocate for the arts, Zamira Menuhin Benthall is the daughter Publications), 1987, pp. 90-91 and color plate, cat. no. 37.
of renowned violinist Yehudi Menuhin, Baron Menuhin (1916–1999), and is a 8 See: Thomas Lawton, Chinese Art of the Warring States Period: Change and
former governor of the Yehudi Menuhin School in Cobham, Surrey, U.K. The Continuity, 480–222 BC (Washington, DC: Freer Gallery of Art, Smithsonian
terminal was exhibited at the Ashmolean Museum, Oxford University, from Institution), 1982, p. 64, no. 25.
2002 until 2006 and at the British Museum, London, between 2006 and 9 See: p. 531, figs. 12 and 13; also compare plate 7, no. 5 in “Shandong Changlexian
2012. And Eskenazi not only exhibited the terminal in New York and London Dongquan Hanmu” [Han tombs at Dongquan, Changle county, Shandong], Kaogu,
in 2000 and then again in London in 2016, but has published it three times, no. 6, 1993, pp. 525-533.
in 2000, 2012, and 2016, as documented in the catalogue entry. 10 See: Eskenazi Ltd., ed., A Selection of Early Chinese Bronzes (London: Eskenazi
Ltd)., 2006, n.p., cat. no. 6.
The powerful design and superb casting combine to make this well- 11 See: Elinor Pearlstein, “Tomb Figure of a Winged Beast,” Museum Studies: Notable
preserved, gilt bronze terminal an engaging and very compelling work of Acquisitions at The Art Institute of Chicago, Museum Studies, vol. 30, no. 1 (2004)
art. Moreover, with an esteemed provenance and a distinguished record of (Chicago: Art Institute of Chicago), pp. 32-33, illustrated on p. 94.
exhibition and publication, this terminal is indeed a rare treasure.

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