Page 234 - China's Renaissance in Bronze, The Robert H.CIague Collection of Later Chinese Bronzes 1100-1900

pieces of Chinese Painting in the Palace Museum, 6. Compare Delbanco, Art from Ritual, 41, number 8.
Taizhong, Taiwan: National Palace Museum, 1959, 7. See Percival David Foundation, Imperial Taste,
volume 4, number 175. 46, number 21.
5. See Robert J. Herold, 'A Family of Post-Han 8. See Kuo, Born of Earth and Fire, 87, number 68.
Ritual Bronze Vessels,' Artibus Asiae (Ascona, 9. See Kerr, 'Metalwork and Song Design,' 172,
Switzerland), volume 37, number 4,1975, 264, figure figure 12.
13b (vessel in center); 266, 16c. 10. See Kerr, Later Chinese Bronzes, 25, figure 14 (left).
6. See Mikami, Ryo Kin Gen, 127, number 102;
186, number 168 (piece in upper right corner of 7
illustration); 205, number 180; 207, number 188 (two
pieces at left of illustration); Ministry of Culture 1. For a variety of hu vessels of types that could
and Information, Sinan haejd yumul, 4, number 33; have served as models for the Clague vase, see
86-87, numbers 13-18. Hayashi, In Shu seiddki soran, plate volume, 297-307.
7. See Ministry of Culture and Information, Sinan 2. See Chase, Ancient Chinese Bronze Art, 57,
haejd yumul, 167, number 223. number 20; Loehr, Ritual Vessels, 133-35, numbers 58-59.
8. See Wai-kam Ho, Sherman E. Lee, Laurence 3. See Maeda, 'The "Water" Theme in Chinese
Sickman, and Marc F. Wilson, Eight Dynasties of Painting,' 247-90.
Chinese Painting: The Collections of the Nelson 4. See Machida International Print Museum, Chugoku
Gallery-Atkins Museum, Kansas City, and The kodai hanga ten, 85, number 8, scrolls 4 and 6.
Cleveland Museum of Art, Cleveland: Cleveland 5. See Kerr, 'Metalwork and Song Design,' 172,
Museum of Art, 1980, 113, number 92. figure 12.
9. See Shanghai Museum facsimile edition of a 6. See Kerr, Later Chinese Bronzes, 42-43, figures
1478 woodblock-reprint of Xinbian quanxiang 31-32; 58-59, figures 46-47; Kerr, 'Metalwork and
shuochang zuben Hua Guan Suo chushen zhuan Song Design,' 164-68, figures 1-5.
deng si zhong (Newly Compiled, Fully Illustrated 7. See Kuo, Born of Earth and Fire, 87, number
Biography of Guan Suo in Four Parts), not pagi- 68; Hasebe, So, 245, number 288.
nated, illustration on front and back of first page, 8. For a contrast between Yuan and early Ming
volume 1 in Ming Chenghua shuochang cihua designs, see, respectively, Mikami, Ryo Kin Gen,
congkan: Shiliu zhong fu baitu ji chuanqi yi zhong, 67, number 53; 73, number 57; 79, number 61;
Shanghai: Shanghaishiwenwu baoguan weiyuanhui Fujioka and Hasebe, M/n, 24, number 16; 36, num-
and Shanghai bowuguan, 1973. ber 27; 37, numbers 28-29.
10. See Rosemary Scott, 'China/ in Jonathan Bourne 9. See Daisy Lion-Goldschmidt, Ming Porcelain,
and others, Lacquer: An International History and New York: Rizzoli, 1978, 38, diagram (translated by
Collector's Guide, Marlborough, Wiltshire, England: Katherine Watson).
Crowood Press in association with Phoebe Phillips 10. See Sichuan Cultural Properties Commission,
Editions, 1984, 31, illustration at top of page. For a 'Chengdu Baima-si liuhao Ming mu qingli jianbao'
related miniature table excavated from the tomb (Report on the Excavation of Ming Tomb Number 6
(dated 1189) ofYan Deyuan, see J.M. Addis, Chinese at White-horse Temple, Chengdu), Wenwu (Beijing),
Ceramics from Datable Tombs and Some Other 1956, number 10, 43, figure 3 (pieces in situ on the
Dated Material: A Handbook, London and New altar table); 45, figure 12 (bronze pieces photo-
York: Sotheby Parke Bernet, 1978, 29, number 19c. graphed separately); Kerr, 'The Evolution of Bronze
11. See Mikami, Ryo Kin Gen, 215, numbers 220,222. Style,'156, figures 20-21.
11. Shanghai Museum facsimile edition of a 1478
6 woodblock-reprint of Xinbian quanxiang shuochang
chushen
zuben
Hua Guan Suo
zhong,
si
zhuan deng
1. See Hasebe, So, 211, number 218; Mikami, Ryo not paginated, illustrations on front and back of
Kin Gen, 206, number 185; Fujioka and Hasebe, first page and on front and back of last page.
M/n, 13, number 6; Kerr, Later Chinese Bronzes, 41, 12. Sichuan Cultural Properties Commission,
figure 27. 'Chengdu Baima-si liuhao Ming mu,' 49.
2. See Delbanco, Art from Ritual, 93, number 34;
Loehr, Ritual Vessels, 121, number 52. (Contrast 8
Loehr, Ritual Vessels, 119, number 51, for the
appearance of a dragon in a similar context.) 1. For examples of the jue, see Hayashi, In Shu
3. A feline head, with diamond-shaped marking seiddki soran, plate volume, 164-88.
on its brow, that graces a zun in the collection of 2. For examples of the jiao, see Hayashi, In Shu
the University Museum, University of Pennsylvania, seiddki soran, plate volume, 189-92.
Philadelphia, is especially close in appearance to 3. See Loehr, Ritual Vessels, 97, number 40;
the feline mask on the Clague vase. See Loehr, number 41; 117, number 50; Delbanco, Art from
Ritual Vessels, 119, number 51. Ritual, 89, number 32.
4. See Delbanco, Art from Ritual, 41-49, numbers 8-12. 4. Rose Kerr has noted that his biography in the
5. See Loehr, Ritual Vessels, 119-121, numbers 51-52. Ming Shi (Official Ming History) indicates that Liu
234 10 C H I N A ' S R E N A I S S A N C E I N B R O N Z E