Page 25 - Bonhams May 2022 Arrow Vases

Fig.7 Type I Lot 1 detail Fig.8 Type II Lot 4 detail Fig.9 Type III Lot 37 detail Fig.10 Type IV Lot 45 detail
圖七 I式 Lot 1局部 圖八 II式 Lot 4局部 圖九 III Lot 37局部 圖十 IV式Lot 45局部

Liaoning Provincial Museum. This kind of cloud-pattern shoulder was 9. Chang Ying and Yang Lu, ‘Bei Song Dingyao baici chiwen: wenshi
17
popular until the Ming dynasty , coinciding with the persimmon sepals yuanliu yu fugu zhi bian’ in Zhongguo taoci, September 2021,
18
pattern seen on the present lots. pp.108-115.
Summary 10. Sui Weimin, Zhenzhong jinghua, Shanghai, 2013, pl.14.
The above three motifs are concentrated on the Brian Harkins 11. National Museum of China, Song Yun: Sichuan jiao cang wenwu
collection of bronze arrow vases, and have received little attention jicui, Beijing, 2006, p.120.
before. Some characteristics of the times are revealed in these
categories, which can be arguably used as a reference for dating. 12. Zhejiang Provincial Museum, Zhongxing jisheng: Nan Song fengwu
The taotie patterns and all kinds of brocade patterns on this group guanzhi, Beijing, 2015, p.337.
of bronze wares are common in the Song, Yuan, Ming and Qing
dynasties, so they were not discussed here. In terms of casting, from 13. National Palace Museum, Dynastic Renaissance: Art and Culture
the Song dynasty to the first half of the Yuan dynasty, including the of the Southern Song-Antiques, Taipei, 2010, p.66.
Liao and Jin dynasties, bronze wares were generally cast in bronze,
and the walls were relatively thin. Since the middle of the Ming dynasty, 14. Zhida chongxiu xuanhe bogu tulu, 1308-1311, vol.5, p.37.
the design of arrow vases became more elaborate, and casting in
brass has become the mainstream. In Wang Ti's view expressed in 15. Ma Chengyuan et al ed., Zhongguo qingtongqi quanji, Beijing,
Touhu Yijie (The Disciplines of Arrow Vase), Ming dynasty, arrow vases 1998, vol.12, p.40.
had lost their original meaning: ‘the way of arrow vases, is not in the
vase, but in the arrow, which is the way of the heart-mind’. 16. Zhejiang Provincial Museum, ibid, Beijing, 2015, p.234.

17. Wang Wenxi, Gugong huapu: shinu, Beijing, 2012, p.238.
Shen Congwen, Zhongguo gudai fushi yanjiu, Shanghai, 2002, p.582.
1. Xu Song (Qing Dynasty), Song huiyao jigao: shihuo, Shanghai, 2016,
Chapter 31 of Section 34, p.6748. 18. Shen Congwen, Zhongguo gudai fushi yanjiu, Shanghai, 2002,
p.582.
2. Toktoghan (Yuan Dynasty), Song shi, Beijing, 1985, vol.31, Gaozong
8, p.590.

3. C.Clunas and J.Harrison-Hall, Ming: 50 Years that Changed China,
London, 2012, p.227, no.195.
4. Xiyongxuan congshu: bingbian, Xuande ding yi pu, 1929, vol.1,
p.12.

5. See more discussion of the shortage of cooper in Song to early
Ming, in Rose Kerr, Later Chinese Bronze, London, 1990, pp.56-60.
6. Liu Yu, Yinxu chutu qingtong liqi zhuzao gongyi yanjiu, Guangzhou,
2018, p.330.
7. Li Mijia, Xuande lu yanjiu: gugong cang xuande tongqi de zhengli yu
yanjiu, Beijing, 2012, pp.9-10. Fig.7.1 Private
Collection
8. See footnote of Lot 2 圖七-1 私人收藏

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