Page 24 - September 23 to 24 Important Chinese Art Christie's NYC

Fig. 3. Silver and gilt
dish, Sasanian period,
Iran, 7th century. Arthur
M. Sackler Gallery,
Smithsonian Institution,
Washington, D.C.: Gift
of Arthur M. Sackler,
S1987.123
圖三 薩珊王朝，七世紀，
銀鎏金盤。亞瑟·M·賽克勒
藝廊，史密森尼學會，華盛
頓特區：亞瑟·M·賽克勒捐
贈，館藏編號 S1987.123。 Lot 708

1 See: Shaanxi lishi bowuguan [Shaanxi History Museum], Hua Wu Da Tang Chun: Hejiacun yibao jingcui 13 See: Christian Deydier, Imperial Gold from Ancient China, Part II—Grosvenor House Antiques Fair
[Selected Treasures from Hejiacun Tang Hoard], (Beijing: Wenwu chubanshe), 2003, pp. 172-175, no. —1991, June 12 – June 22, 1991, (London: Oriental Bronzes, Ltd.), 1991, pp. 22-23, cat. no. 6.
40; also see: Han Wei and Christian Deydier, Ancient Chinese Gold, (Paris: ARHIS/Les Editions d’Art 14 See: Doreen Stoneham, “Thermoluminescence Testing of Ceramic Works of Art”, Orientations, (Hong
et d’Histoire), 2001, no. 537. Kong), vol. 22, no. 6, June 1990, p. 73, fig. 4.
2 See: Qi Dongfang, Tangdai jinyinqi yanjiu [Research on Tang Gold and Silver] in the series Tang yanjiu 15 See: Shōsō-in Office, ed., Metal Works in the Shōsō-in, (Tokyo: Nihon Keizai Shimbun Sha), 1976, pl. 21.
jijinhui congshu (Beijing: Zhongguo shehui kexue chubanshe), 1st ed., 1999, pp. 72-75, figs.1-173 16 See: Qi Dongfang, “Gold and Silver Wares on the Belitung Shipwreck”, in Regina Krahl, John Guy, J.
through 1-187 (for the present bowl, see p. 74, fig. 180; for the Hejiacun bowl, see p. 73, fig. 173; for the Keith Wilson, Julian Raby, eds., Shipwrecked: Tang Treasures and Monsoon Winds, (Washington, DC:
Hakutsuru bowls, see p. 74, figs. 1-179 and 1-182). Arthur M. Sackler Gallery, Smithsonian Institution), 2010, p. 87, figs. 67, 170 (detail).
3 See: Pierre Uldry et al., Chinesisches Gold und Silber: Die Sammlung Pierre Uldry, (Zurich, Switzerland: 17 See: Jason Zhixin Sun et al., Age of Empires: Art of the Qin and Han Dynasties, (New York:
Museum Rietberg Zurich), 1994, p. 157, cat. no. 143. Metropolitan Museum of Art), 2017, pp. 77-80, cat. nos. 1 and 3, pp. 88-90, cat. no. 12; for additional
4 Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, (Stockholm), 1953, p. 155, no. 99. information on early Chinese armor, see: Albert E. Dien, “A Study of Early Chinese Armor”, Artibus
5 See: Giuseppe Eskenazi, A Dealer’s Hand: The Chinese Art World Through the Eyes of Giuseppe Asiae, 1981, vol.43 (1/2), pp. 5-66.
Eskenazi, (London: Scala Publishers Ltd.), 2012, Plate 79; also see: Gyllensvärd, Chinese Gold and 18 Edward H. Schafer, The Vermilion Bird: T’ang Images of the South, (Warren, CT: Floating World
Silver in the Carl Kempe Collection, 1953, pl. 120; also see: Sotheby’s, London, Masterpieces of Editions), 2008, pp. 226-227 (first published in 1967 by Berkeley and Los Angeles: University of
Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green, and Back Wares, 14 California Press). For additional information on the rhinoceros in China, see Edward H. Schafer,
May 2008 (London: Sotheby’s), 2008, lot 60. Golden Peaches of Samarkand, (Berkeley, Los Angeles, and London: University of California Press),
6 See: Shaanxi lishi bowuguan, Hua Wu Da Tang Chun, 2003, pp. 249-250, no. 67. 1963, pp. 83-84.
7 For information on the rhinoceros in early China, see: Sun Ji, “Gu wenwuzhong suojian zhi xiniu” [The 19 William Raymond Gingell, The CeremonialUsages of the Chinese, B.C. 1121, as Prescribed in the
Rhinoceros as Seen in Ancient Cultural Artifacts], Wenwu, 1982, vol. 8, pp. 80-84. “Institutes of the Chow Dynasty Strung as Pearls” [a translation and abridgement of the Zhouli, or Rites
8 For information on the offering of tribute in Tang times, see: Howard J. Wechsler, Offerings of Jade and of Zhou], (London: Smith, Elder), 1852, p. 81, pl 22.
Silk: Ritual and Symbol in the Legitimation of the T’ang Dynasty, (New Haven: Yale University Press), 20 See: Kathlyn Liscomb, “How the Giraffe Became a Qilin: Intercultural Signification in Ming Dynasty
1985. Arts”, in Jerome Silbergeld and Eugene Y. Wang, eds., The Zoomorphic Imagination in Chinese Art and
9 See: Wen Fong, Robert W. Bagley, Jenny F. So, et al., The Great Bronze Age of China: An Exhibition Culture, (Honolulu: University of Hawaii Press), 2016, pp. 341-378.
from the People’s Republic of China, (New York: Metropolitan Museum of Art), 1980, pp. 294-295, 21 See: Pauline Lunsingh Scheurleer, ed., Asiatic Art in the Rijksmuseum, Amsterdam, (Amsterdam, The
320, no. 93; also see: Jason Zhixin Sun et al., Age of Empires: Art of the Qin and Han Dynasties, (New Netherlands: Meulenhoff/Landshoff), 1985, p. 76, cat. no. 56 (AK-RBK-1965-88); also see: https://
York: Metropolitan Museum of Art), 2017, p. 47, fig. 40. www.rijksmuseum.nl/en/collection/AK-RBK-1965-88
10 See: Jason Zhixin Sun et al., Age of Empires: Art of the Qin and Han Dynasties, (New York: 22 Ann C. Gunter and Paul Jett, Ancient Iranian Metalwork in the Arthur M. Sackler Gallery and the Freer
Metropolitan Museum of Art), 2017, pp. 170-171, cat. no. 92. Gallery of Art, (Washington, DC: Arthur M. Sackler Gallery and Freer Gallery of Art; Mainz, Germany:
11 See: Yang Boda, ed., Zhongguo jinyin boli falangqi quanji [A Compendium of Chinese Gold, Silver, Distributed by P. von Zabern), 1992, pp. 39, 139-40, cat. no. 20. Also compare: Carol Michaelson,
Glass, and Cloisonne Enamel], (Shijiazhuang: Hebei meishu chubanshe), 2002–2004, vol. 2 (Gold Gilded Dragons: Buried Treasures from China’s Golden Ages (London: Published for the Trustees of
and Silver), pl. 32. the British Museum by British Museum Press), 1999, p. 22, fig. 5.
12 See: Sekai bijutsu daizenshū, Tōyō hen [New History of World Art, East Asia], (Tōkyō: Shōgakkan),
1997-2001, vol. 4 (Sui and Tang), pl. 166.
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