Page 166 - Christies March 15 2017 Fujita Museum

Fig. 1. Fu Hao fangzun, late Shang dynasty, 16 7 in. (43 cm.) high. Fig. 2. Si Qiao Mu Gui fangzun (one of a pair), late
Collection of the Institute of Archaeology, Chinese Academy of Shang dynasty, 22 in. (56 cm.) high. Collection of
Social Sciences. After Zhongguo qingtongqi quanji (The Complete the Institute of Archaeology, Chinese Academy of
Collection of Chinese Bronzes), vol. 3, Beijing, 1997, no. 108. Social Sciences. After Zhongguo qingtongqi quanji
(The Complete Collection of Chinese Bronzes), vol. 3,
圖一 商晚期 婦好方尊 社科院考古所藏 Beijing, 1997, no. 109.

圖二 商晚期 司 母癸方尊（一對之一） 社科院考古所藏

Despite the few examples found by archaeologists, is it possible that some of the kings’ bronzes
survive to the present day among other handed-down pieces? The unparalleled refnement and
sophistication of Shang bronze vessels from the Fujita Museum may ofer some answers. And the
ritual bronzes recovered from the tomb of Fu Hao, one of the consorts of the Shang King Wu Ding,
could provide a benchmark in the search for kings’ bronzes.3

The fne quality of the casting and sophisticated decoration of the fangzun (lot 523) is representative
of the high Anyang style. Three similar fangzun vessels were found in the tomb of Fu Hao: one of
compressed shape cast with a fu hao inscription and a pair of taller fangzun cast with four-character
inscriptions, si qiao mu gui (illustrated in Tomb of Lady Hao at Yinxu in Anyang, Beijing, 1980, color pl.
8 and pl. 20, respectively). (Figs. 1 and 2) The Fu Hao and Si Qiao Mu Gui fangzun display a similar
arrangement of design: a single register of large taotie masks fll each side of both mid-sections
and lower sections, though the treatment of decoration on their necks vary. The decoration on the
neck of Fu Hao fangzun’s neck is fat cast, whereas the Si Qiao Mu Gui fangzun’s neck has high-
relief decoration. The biggest diference between the Fu Hao and Si Qiao Mu Gui fangzun lies in the
sculptural animal fgures set on their shoulders. The Si Qiao Mu Gui fangzun has animal heads in
relief at the center of each side of the canted shoulder, connecting the bisected dragon body, whereas
the Fu Hao fangzun is decorated on the shoulder with animal heads in relief as well as fgures of
mythical bird-like creatures on each corner. In this regard, the Fujita fangzun is more comparable
with the Fu Hao fangzun, though its proportions are more closely associated with the Si Qiao Mu
Gui fangzun. What distinguishes the Fujita fangzun from all three examples from the Fu Hao tomb
is the introduction of a narrower decorative band to both the mid-section and the foot, making the
decoration more elaborate and harmonious. Another fangzun vessel of similar shape and set with bird
and animal fgures is the Ya Chang fangzun found on the Huayuanzhuang Dongdi M54 in Anyang city
(illustrated in Yue Hongbin ed., Ritual Bronzes Recently Excavated in Yinxu, Kunming, 2008, pp. 156-7,
no. 64). Some scholars have noted that fangzun of compressed shape are an indigenous type from
the central Yellow River region and taller fangzun were inspired by zun shapes in the Yangtze River
region.4 According to archeologists, the owner of Huayuanzhuang Dongdi M54, Ya Chang, was a chief
from southern China who lived and was buried at the Shang capital at Yinxu.5 It is safe to surmise
that Anyang fangzun of taller proportion such as the Fujita example were infuenced by bronzes from
southern China.

3 Fu Hao is one of the consorts of Shang dynasty king Wu Ding (r.c. 1250-c. 1192 BC). Her tomb was discovered by
archaeologists in 1976. Although the scale of tomb is modest for her status, the content is sumptuous: 196 ritual bronzes
weighting one and half tone including important pieces like Fu Hao double fangyi, three-conjoined yan, owl-shaped zun, and
Si Mu Xin fangding. Fu Hao bronzes were fnely cast using premium materials. Some of the special pieces were even made by
craftsmen emigrated from Southern China.

4 The Hunan Provincial Museum and Shanghai Museum ed., ‘Min’ Fanglei and Selected Bronze Vessels Unearthed from Hunan,
Shanghai, 2015, p. 104.

5 He Yulin, ‘Yinxu Huayuanzhuang Dongdi M54 muzhu zaiyanjiu’ (Rethinking of the Occupant of Yinxu Huayuanzhuang
Dongdi M54), Sandai Kaogu (Archaeology of the Three Dynasties), vol.5, Beijing, 2013, p. 115.

164 IMPORTANT CHINESE ART FROM THE FUJITA MUSEUM