CHINESE BRONZES

C H I N E S E BRONZES

THE METROPOLITAN MUSEUM OF ART

CHINESE BRONZES
OF THE SHANG (1766-1122 B.C.) T H R O U G H THE T'ANG DYNASTY (A.D. 618-906)

AN E X H I B I T I O N LENT BY AMERICAN COLLECTORS A N D MUSEUMS AND SHOWN IN GALLERY D 6 FROM OCTOBER 19 T H R O U G H NOVEMBER 27 N E W YORK, 1938

C O P Y R I G H T BY T H E M E T R O P O L I T A N M U S E U M OF ART OCTOBER,I938

$ ^

CO CO 0

00

LIST OF LENDERS
RAYMOND A. B I D W E L L LEO S. BING LUCIAN GUY BLACKMER T H E HONORABLE AND MRS. ROBERT WOODS BLISS MRS. DAGNY CARTER J O H N HADLEY COX W I L L I A M J . COX MRS. W. MURRAY CRANE PAUL CRAVATH MR. AND MRS. J . H. R. C R O M W E L L MRS. C. SUYDAM CUTTING SAMUEL C. DAVIS MR. AND MRS. EDSEL B. FORD ARNOLD G E N T H E MRS. CHAUNCEY H A M L I N LEONARD C. HANNA, J R . MRS. C H R I S T I A N R. H O L M E S CHARLES B. HOYT MRS. OTTO H. KAHN ALBERT E. M C V I T T Y MRS. W I L L I A M H. MOORE DR. AND MRS. JAMES B. M U R P H Y

L I S T OF

LENDERS

ROBERT TREAT P A I N E , J R . ALFRED F. P I L L S B U R Y , BY COURTESY OF T H E M I N N E A P O L I S I N S T I T U T E OF ARTS MR. AND MRS. JAMES MARSHALL P L U M E R OWEN ROBERTS MRS. J O H N D. R O C K E F E L L E R , J R . MR. AND MRS. NELSON A. R O C K E F E L L E R HORATIO SEYMOUR RUBENS HENRY K. SCHOCH LAURENCE SICKMAN MRS. EDWARD S O N N E N S C H E I N RUSSELL TYSON THOMAS J . WATSON THREE ANONYMOUS LENDERS T H E ART I N S T I T U T E OF CHICAGO T H E CLEVELAND MUSEUM OF ART T H E DETROIT I N S T I T U T E OF ARTS FIELD MUSEUM OF NATURAL HISTORY, CHICAGO FOGG ART MUSEUM, CAMBRIDGE MUSEUM OF F I N E ARTS, BOSTON P H I L A D E L P H I A MUSEUM OF ART T H E TOLEDO MUSEUM OF ART T H E U N I V E R S I T Y MUSEUM, P H I L A D E L P H I A W I L L I A M R O C K H I L L NELSON GALLERY OF ART, KANSAS CITY

PREFACE

VER since the early days of the Republic, Americans have had intimate relations with the Far East. At first their importations to this country were of a purely utilitarian nature, and their China traders brought back such merchandise as teas and silks and table services. In later years Americans became increasingly aware of Chinese art, and in the last decades they have been among the foremost amateurs of the ever increasing number of extremely early bronzes, jades, potteries, and sculpture unearthed from the productive soil of China, and their collections have become as rich as those anywhere else in the world. The present exhibition in the Metropolitan Museum is limited to but one phase of the art of ancient Chinaits bronzesand is drawn from but one sourceAmerican collectionsbut those who saw the great exhibition of Chinese art in London in 1935 will recognize that there are in this country collections comparable to those drawn upon on that occasion from the whole world. It includes early ceremonial bronzes from the Shang dynasty through the Han dynasty, mirrors and accessories from the Chou through the T a n g dynasty, and Buddhist bronzes from the Six Dynasties to the early Sung dynasty. The assembling of some five hundred bronzes of the highest quality in one exhibition for the benefit of the New York public and the visitors to the city has been made possible through the unstinted generosity of the private collectors and institutions whose names will be found on the preceding pages. H . E. W I N L O C K , Director

CONTENTS
page

LIST OF L E N D E R S PREFACE CONTENTS CHRONOLOGY OF C H I N E S E DYNASTIES C H I N E S E BRONZES: AN I N T R O D U C T I O N ANALYSIS OF C H A R A C T E R I S T I C S CLASSIFICATION OF SHAPES CATALOGUE OF C H I N E S E BRONZES
C E R E M O N I A L BRONZES SHANG DYNASTY EARLY CHOU DYNASTY MIDDLE CHOU DYNASTY LATE CHOU DYNASTY HAN DYNASTY MIRRORS BUDDHIST BRONZES M I S C E L L A N E O U S BRONZES ADDENDA

v vii ix xi xiii xxi xxvii i

I I 8 II 14 l8 19 22 26 29

ILLUSTRATIONS

31

C H R O N O L O G Y OF C H I N E S E DYNASTIES
Hsia Shang (Shang-Yin or Yin) Chou 2205-1766 B.C 1766-1122 1122- 249

Early (Western) Chou (Yin-Chou) . . . . 1122-947 Middle (Western) Chou 946-abt. 770 Late (Eastern) Chou 770-256 (''Period of the Spring and Autumn Annals" 722-481) ("Period of the Warring States" . . abt. 481-221) ("Huai" 770-206) Ch'in
Han

221-206
206 B.C.-A.D. 220

Western Han (former, or Hsien Han) . (Hsin Dynasty Eastern Han (later, or Hou Han) . . Six Dynasties

206 B.C.-A.D. 25 A.D. 8-23) . .A.D. 25-220 222-589

(A name referring to the dynasties which had their capitals on the site of the present NankingTung Wu, Eastern Chin, Sung, Ch'i, Liang, and Ch'en.) Three Kingdoms Wei Shu Han TungWu Chin (Western Chin and Eastern Chin) . . . . Northern and Southern Dynasties Northern Dynasties Northern Wei (including Western Wei 220-280 220-265 221-263 222-280 265-420 386-589 386-581 386-557 535-557)

. . . .

xi

C H R O N O L O G Y OF C H I N E S E Eastern Wei (absorbed by Northern Ch'i) Northern Ch'i (absorbed by Northern Chou) Northern Chou Southern Dynasties Sung (Liu) Southern Ch'i Liang Ch'en Sui T'ang Five Dynasties Liang T 'ang Chin Han Chou Sung Northern Sung Southern Sung Liao (Western Liao Chin (Nu-chen) Hsi Hsia (Western Hsia) Yuan Ming Ch'ing Republic
xii

DYNASTIES 534"55o 55-577 557~58i 420-589 420-479 479-502 502-557 557-589 589-618 618-906 907-960 907"923 923-936 936-946 947-950 951-960 960-1279 960-1127 1127-1279 907-1125 1125-1211) 1115-1234 1032-1223 1280-1368 1368-1644 1644-1912 1912-

CHINESE AN

BRONZES

INTRODUCTION

H E exhibition of Chinese bronzes presented by the Metropolitan Museum has grown into something extraordinary. It was planned to show three phases of Chinese bronzeworkearly ceremonial vessels (from Shang through Han), mirrors (from Late Chou through T'ang), and Buddhist images (from the Six Dynasties to the beginning of Sung)and to limit the exhibition to examples in American collections. We expected to have an excellent representation, but so generous was the response and so great the interest that it has turned into what is the most exciting and dazzling display of Chinese bronzes (particularly the early ceremonial bronzes) ever to have been brought together. The result is amazement. The fisherman who opened a water bottle and released a djinn can hardly have been more stunned. Any one of these bronzes has inherent in its shape and design something of the people who made it and something of the religion and the beliefs that inspired it. The mass of them brought together accumulates so much power and compressed energy that it is almost terrifyingone almost expects to hear a roar or to see the thing explode. We are beginning to know something of the Shang people and their religion from the discoveries at An Yang,1 particularly the oracle bones and the bronzes. The religion seems to have been based on a pantheon of deities whose attributes are those of nature, sometimes benign but potentially destructive and fearsome. All this is reflected in the decoration of the bronzesthese nightmare, threatening monster heads, these twisted, unreal beasts treading quietly enough their paths of rain and thunder but capable of dashing forth with terrible jaws and claws at any moment. There is more than a suggestion of brutality and cruelty in these bronzes, and there is tremendous strength and control. To
H. G. Creel, The Birth of China: a Study of the Formative Period of Chinese Civilization (New York, [1937]), and Studies in Early Chinese Culture (Baltimore, 1937), first series.
1

xiii

CHINESE

BRONZES

tell the truth, though, we don't know very much about them. For the most part they are sacrificial vessels made for ceremonies, sometimes in honor of dead ancestors, sometimes to commemorate an event. Following the ideas of the Chinese we call them food vessels, heating vessels, wine vessels, and so forth, and try to disentangle their uses from the classics; but the Book of Rites itself was compiled a thousand years and more after these things were first in usecompiled when questions of procedure were already muddled and uncertain. We can read what is written in many of them; and we begin to understand the symbolism, the association of dragons with life-bringing rain, the meander thunder, the fish, the birds, the ram, and the moon. This will be all unraveled before we are through, but in the meantime we cannot be blind to the reality of the terrors of natural forces to the people who made these vessels. Echoes of it appear in our life todaydo we not speak of a flood, an earthquake, a tidal wave as "an act of God"? Dr. Bernhard Karlgren's analysis of Chinese bronzes is both brilliant and useful. It is an excellent working basis and at the moment very popular, especially in America. It does not pretend to be complete and like almost everything else that seems to be the final word invites contradiction. But this is the way by which we gradually approach the truth, and it is so handy that we give a digest of it with a very few suggestions. 2 By studying the inscriptions and then looking at the bronzes for points of similarity, Karlgren has given a lively jolt to the commonly accepted chronology of Chinese bronzes. The excavations at An Yang opened the way for dating a large group of bronzes Shang, and Karlgren has gone farther and suggested a dividing line about 950 B.C. for Early Chou (Yin-Chou) and Middle Chou. It is hard for some of us to believe that all that brilliant technique was swept away and lost completely about that time, but it is an enormous help to have so large a body of bronzes emerge as definitely Middle Chou. For the period covering the last part of Chou and Ch'in, the term " H u a i " is very seductivetoo seductiveand it is easy to say and remember. Applied first to a distinct style of bronze found in the
2

See page xxi.

xiv

AN INTRODUCTION Huai Valley, it is used to cover the whole country for a long period. The time will come and seems fast approaching when we shall be able to say sixth century, fourth century, and so on, but, except in a few instances, we cannot yet. In this catalogue we have applied the old dynastic names to Karlgren's analysis and put his in parenthesis. The late Kingsley Porter used to say, "Publish as fast as you can because any archaeological work is out of date and gone in fifteen years." His own books give the lie to this, but there is something in the idea. Certainly Chinese archaeology goes on like a whirligig, and very exciting it is if only we remember that we are in the midst of disentangling the tangled and half-forgotten web of early Chinese civilization and do not think happily, as we are wont to do on leaving school, that the task is done. It's not done by any means; but in the last twenty years and even in the last ten such landmarks as An Yang, Ch'ang Sha, and the Huai Valley have been classified, and they give us important and steady beacons. One of the most troubling things about the chronology of Chinese bronzes is that the earliest ones we can be sure of are the most finely conceived and executed. It is as if we started mediaeval sculpture with Chartres and had no inkling of its antecedents, or suddenly came on the Baptistery doors of Florence and said this is the beginning. The things we call Shang (or Yin) are the highest peak of a phase of culture, and we have not yet sorted out or established the forerunners; and such technical casting of bronze, to say nothing of the designs, presupposes a long development. Karlgren chooses thirty-eight elements as distinctively Shang and purposely omits some of the obvious and unusual ones, such as elephants. His dragon types are arbitrary and do not include all the variants. In grouping the bronzes in our catalogue we have tried to bring together examples which have many similarities of style. The first group is simple enough. It includes all those with the accepted elements done in a sunk-relief technique, which was perhaps always intended to be used with inlay. The second group includes those in which the designs are in low relief with little or no chance for inlay. Despite the evidence of inscriptions, xv

CHINESE

BRONZES

at first sight it is hard to see this group as early. The modeling may have worn down in the course of time; but even so the outlines have more the look of something that has been repeated so often that it is easy and even carelessalmost a paraphrase of the crisp and vigorous standard type. The finest type of Shang bronze is vibrant and electric in its execution. The very shapes of the bronzes are young and alive. One can almost see them grow, as one sees seemingly static spears of young bamboo and knows that even in the afternoon they will be taller and stronger. The intricate design and varied animals and symbols have the same qualities. They are clear and sharp, but they are young and full of excitement. The Early Chou (Yin-Chou) things are the logical development from the Shangthey are more robust, more powerful, more broadly planned, more accomplished. The monster masks and animals in relief come more boldly outa bit like champion boxers. There is no clear dividing line between the Shang and Early Chou. But there is a tremendous change in Middle Chou. Karlgren picks 950 B.C and would have us put the great mass of bronzes with certain characteristics prior to that date and gather together a body of things as Middle Chou. This group is quite distinct. Many of the symbols have been entirely given up. There is a poverty of design. The motives are fewer and less imaginative, and there is a tendency towards sheer bulk. It is hard to believe that the brilliant technique of Early Chou could have been entirely discarded so abruptlyit is conceivable but hard to believe. One suggestion that the present exhibition gives us is that possibly the bronze makers kept the decoration on the bodies of their vessels simple and developed the animal motives into free-standing figures, to be used either as tops, legs, handles, or as complete things in themselves. Such a figure as Mr. Pillsbury's reclining buffalo (No. 146, ill.), for instance, is decorated with the same kind of drawing as one of the Metropolitan's bronzes (No. 141, ill.), which is distinctly Middle Chou, and his chimeras have scales identical with the scale bands of Middle Chou. And these xvi

AN INTRODUCTION animals are top-notch things. Is it not possible that we must expand and add to Karlgren's presentation of Middle Chou until it fits into the whole history, not so much as a complete break with tradition but as a healthy attempt at development and change? The style called Huai fits in nicely with such a hypothesis. Here in late Chou times we have a revival of early shapesa revival of early symbols and themesif, in fact, anything so modified can properly be called a revival. Ancient shapes and ancient symbols have been brought into play again but treated in a totally new manner. The late Chou people were very sophisticated, very refined, superexpert in technique, and beset with a maddeningly nervous high-strung energy. These almost embroideries of gold and silver,3 these endless volutes and interlacings, these twisted acrobatic lionsthey teem with febrile vigor and have something of the precision of tightrope walking or the flying trapeze. This mode of expression, which appears in the late Chou dynasty, progresses without a hitch to the Han dynasty. All the things we used to call Ch'in and many we called Han are now called Late Chou ("Period of the Spring and Autumn Annals" or "Period of the Warring States" or "Huai"). For the moment the Ch'in dynasty is relegated to limbo, as far as bronzes are concerned, and when it reappears will have quite a new definition. It is a little surprising that when our chief association with Ch'in is Ch'in Shih Huang Ti (who attempted to destroy the past and begin all history with himself) we should still have ascribed so much in the way of a brilliant style to that period. It may well turn out that the Ch'in period did deal a telling blow to the development of Chinese art. In any case, the present allocation of bronzes gives us a very different picture of the Hans from that to which we are accustomed. If they are to be shorn of all these intricate and frostlike patterns, they are going to appear as wholesome and vigorous and a little literal and unimaginative if not quite stodgy. The Late Chou geometric patterns are there, but they are well sobered up; and the supernatural monsters of the Chou periodthey have
T. G. Andersson, "The Goldsmith in Ancient China," The Museum of Far Eastern Antiquities, Stockholm, Bulletin No. 7 (1935).
3

xvii

CHINESE

BRONZES

been clipped of their lightning and their fire, domesticated and tamed. The Han acrobats stay on the ground; and the Han animals, even the legendary ones, are much more realistic than their predecessors. They are husky and strong and often have humor, but they are far from the star-blooded creatures that roamed through the Chou heavens. These were gonegone forever, save for once, when millenniums later a solitary jabberwock "with eyes of flame, came whiffling through the tulgey wood and burbled as it came." This presentation of ceremonial bronzes ends with the Han dynasty. It could have continued profitably (and there are a few examples later than Han) to show how in the T'ang dynasty they became merely elegant and refined accessories, touched with the magnificence of the period. We might have shown the archaeological revival of the Sung and later periodsit would have been instructive and deadly dull. The only type of bronze which began in the Chou dynasty and continued in practical use and so was treated with interest by succeeding generations was that symbol of vanitythe mirror. The earliest mirrors we know about are those of the late Chou dynasty, and in them all the characteristics of the period appear 'at their best. Bronze mirrors went on being fashionable all the way down to the Ming dynasty, until, in fact, glass mirrors became handy. We show them through the height of T'ang; and there, again because the quality falls off, we leave them. These mirrors are enchanting things and record quite a different phase of their makers from the heroic bronzes. Sometimes they instruct, sometimes they remind one a little of the great forces that mold a race; but for the most part the interest is in pure ornament and design. The earliest ones are Late Chou, and they are patterned with the same kind of interlacery as the ceremonial bronzes but treated in a lighter mood. In the Han dynasty more animals and people appear. By the T'ang dynasty lavish decoration and high relief are very common, especially in the so-called Bactrian style, but alongside them we find such delicate and restrained fancies as Mrs. Holmes's mirror with lacquer decoration and gold inlay (No. 245, ill). xviii

AN INTRODUCTION
So different is the tale written in the Buddhist bronzes that it is hard to believe that they have anything to do with the same cultural stream that produced the blood-and-thunder ceremonial vessels. We are wont to speak complacently of the Chinese as a people who have preserved their traditions for three thousand years and moreand so they did, some of them in a tenacious, somewhat muddled way. But when we look closely into their history, we find that they were constantly being overrun with invading races and quite often going in for innovations with an abandoned thoroughness without casting off traditions entirely. Buddhism is reported in China as early as the first century A.D.; but it was not until the fifth century that it made any great headway, and it is a fine bit of irony that this gentlest of religions should have been propagated by the warlike Toba Weis and that more than one great temple was dedicated in honor of a victory of arms. However it came, it swept the country like a tidal wave and from the fifth century until the fourteenth an enormous amount of the country's creative genius was devoted to its service. Buddhism persists today; but its noblest temporal manifestations reached a height in the T'ang dynasty, from which they have been gently descending ever since. The things which we show in this exhibition are from the great period of Buddhist creation in Chinathe period covering the Wei, Sui, and T'ang dynasties and a lovely and gracious assembly they are. The two altarpieces which were among the great glories of the Chinese exhibition in London are here, and they are surrounded by single pieces from altar sets and the great Sui Trinity ( N o . 279, ill.) from The University Museum, Philadelphia.
ALAN PRIEST

XIX

ANALYSIS OF C H A R A C T E R I S T I C S BASED ON K A R L G R E N 1
SHANG (YIN)

i. square ting (ill. p. xxix and No. 16). 2. li-ting ( N o . 15). ^.yu (No. 8, ill.). 4. ^ and / J ( N O . 53, ill.) (i# covers bothsee list of types.). 5. yi (i) ( N o . 1, ill.). 6. $* (with ^/#) (No. 46, ill.) (Wade transliteration is chueh and chio.). 7. \uang (ill. p. xxix and No. 108). 8. cylinder legs (ill. p. xxix and No. 16). 9. supporting animals (ill. p. xxiii). 10. lid knobs ( N o . 1, ill.), n . bottle horns (ill. p. xxiii). 12. spikes (No. 34). 13. segmented flanges (ill. p. xxiii). 14. free animal's head (ill. p. xxiii). 15. t'ao t'ieh (ill. p. xxiii) ( W e try to use monster masks instead of t'ao t'ieh.). 16. common bird (ill. p. xxiii). 17. gaping dragon (ill. p. xxiii). 18. vertical dragon (ill. p. xxiii). 19. trunked dragon (ill. p. xxiii). 20. winged dragon (ill. p. xxiii). 21. feathered dragon (ill. p. xxiii). 22. snake (ill. p. xxiii) (Are some of the things we call serpent, cicada larvae or silkworms?). 23. cicada ( N o . 94, ill.). 24. rising blade ( N o . 67). 25. hanging blade (ill. p. xxiii). 26. leg blade ( N o . 16). 27. animal triple band (ill. p. xxv). 28. scaled animal ( N o . 11, ill.). 29. spiral filling (ill. p. xxv) ( W e suggest separating one type of spiral and calling it meander. The Sung theory that it was a thunder pattern is worth attending to.). 30. spirals on figures (No. 1, ill.). 31. spiral band (No. 15). 32. compound lozenges ( N o . 37). 33. interlocked T's (ill. p. xxv). 34. circle band (ill. p. xxv). 35. whorl circle (ill. p. xxv). 36. vertical ribs (ill. p. xxv). 37. T scores (ill. p. xxiii under 13). 38. square with crescents (ill. p. xxv) (Could this be called a quatrefoil?).
B. Karlgren, "Yin and Chou in Chinese Bronzes," The Museum of Far Eastern Antiquities, Stockholm, Bulletin No. 8 (1936). The numbers preceding the names of shapes and motives in this list are those used by Karlgren.
1

XXI

ANALYSIS OF CHARACTERISTICS EARLY Shang elements CHOU (Y1N-CHOU)

persisting

3. yu. 4. tsun. 5. yi. 8. cylinder legs. 10. lid knobs. 13. segmented flanges. 14. free animal's head. 15. t'ao t'ieh. 16. common bird. 19. trunked dragon. 21. feathered dragon. 22. snake. 23. cicada. 24. rising blade. 27. animal triple band. 28. scaled animal. 29. spiral filling. 30. spirals on figures. 32. compound lozenges. 33. interlocked T's. 34. circle band. 35. whorl circle. 36. vertical ribs. 38. square with crescents. New elements

39. bent ears ( N o . 94, ill.). 40. hook projections (ill. p. xxv). 41. tail-raising bird ( N o . 113). 42. p'an (No. 188). MIDDLE CHOU

43. chung ( N o . 174, ill.). 44. arched //* (No. 136). 45. fu. 46. ih (i) (ill. p. xxxi). 47. su (hsu) ( N o . 129). 48. shallow ting. 49. curved legs ( N o . 137, ill.). 50. fin flanges. 51. footed \uei (chiu) ( N o . 130). 52. spiral horns (ill. p. xxv). 53. grooves ( N o . 129). 54. vertical stripes. 55. scale band (ill. p. xxv). 56. vertical scales (ill. p. xxv). 57. wavy line (ill. p. xxv}. 58. broad figured band (ill. p. xxv). 59. back-to-back dragons ( N o . 131, ill.). LATE CHOU TO HAN (HUAI)

Shang style elements, obsolete in the Middle Chou style but now revived 14. free animal's head. 15. t'ao t'ieh (in a modified form). 22. snake. 23. cicada. 24. rising blades. 25. hanging blades. 28. scaled animals. 29. spiral filling. 33. interlocked T's. 35. whorl circle. Middle Chou 43. chung. elements 46. ih. 49. curved legs. xxii

45. fu.

n\

/ ^

'9

II

16

18

22 20

C H A R A C T E R I S T I C M O T I V E S ON C H I N E S E

BRONZES

ANALYSIS OF CHARACTERISTICS

New elements 60. squat ting (No. 168). 61. interlacery (No. 174, ill.). 62. hooks (No. 173). 63. plait. 64. rope. 65. rings on lid (No. 190). 66. warts (No. 314). 67. dots (No. 320). 68. spiral circle (No. 350). 69. Huai geometrical patterns (Nos. 185, ill, 186). To these criteria there might be many addenda; and following Hentze's hypothesis of moon worship,2 we may gradually learn what each dragon stood for and give them better names. The monster masks should be split into categoriesthose with stag horns, those with buffalo horns, those with rabbit's ears, those distinctly tigerishthey must all have different meanings. The elephant as an obvious beast has been omitted. The owl has been entirely overlooked, in spite of the number of vessels shaped like owls. But working from these owl vessels, we suddenly find the owl appearing time after time as a motive in other vessels. In one or two it is distinct; and recognizing the form, we find many supposedly free animal heads and central parts (mouth, nose, and forehead) of the monster masks defining by themselves the outline of a standing owl with wings outspread. What is this bird? In those ancient times was it already a symbol of night associated with the moon? N
C. Hentze, Mythes et symboles lunaires (Antwerp, 1932).

XXIV

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27

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29

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35

36
38

52

55

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56

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58

CHARACTERISTIC MOTIVES ON C H I N E S E BRONZES

CLASSIFICATION

OF

SHAPES1

A N. Vessel of unknown function, having bulging belly slightly contracted to a mouth finished with a wide, flat rim. With or without "ears" and cover. CHIA. Large round wine vessel with three legs. Handle at side. Two capped uprights. Sometimes square with four feet. Sometimes covered. CH1AO TOU. Household heating vessel not among classic types/Characteristic of Han dynasty. One type is shallow pan on three legs with short pouring lip and long handle usually ending in animal head. Another type resembles a teapot and has a spout, smaller covered mouth, and shorter handle. CH1H. Wine vase with belly swelling above base. Round or oval in section; sometimes covered. Similar to hu, but usually having wider mouth and no "ears." See ill. p. xxix. CHIO. Wine vessel similar to chueh, but longer and without uprights. Distinguished by bilaterally symmetrical pointed ends. Often covered. Intermediate types combine features of chueh and chio. See No. n , ill. CH1U. For cereals. Numerous and diversified class. Wide mouth, slightly flaring or contracted. Three or four feet, base, or rectangular podium. With or without cover. See ill. p. xxxi and No. 131, ill. Handles (occasionally lacking) may differ in type and number from the usual two vertical handles with pendants. Some scholars call the group \uei, an equivalent term pronounced like chiu in ancient times. In addition, chiu was misidentified as tui by Sung dynasty scholars, an error which persisted by usage.
Compiled by Josephine S. Hadley and Han Shou-hsuan, largely on the basis of the classifications by W. P. Yetts, The George Eumorfopoulos Collection: Catalogue of the Chinese and Corean Bronzes, Sculpture, Jades, Jewellery . . . (London, [1928]), vol. 1, and Jung Keng, "Some Ceremonial Utensils and Musical Instruments of the Yin and Chou Dynasties," The Yenching Journal, June, 1927.
1

xxvii

CLASSIFICATION OF SHAPES CHUEH. Wine cup. See ill. p. xxix. Variations are a flatbottomed type and a square four-legged form. Alternatively called chio. FU. Low, rectangular vessel for cooked cereals. Straight, slanting sides. Flaring base, cut away at center of each side, or legs. Cover (sometimes lacking) almost exactly duplicating vessel itself. HO. Covered pot probably for water to mix with wine. Three or four legs of varying length. Somewhat contracted mouth. Spout on one side, handle on opposite side. Occasionally has arched handle. Alternatively called huo. HSIEN. Large food steamer of two or more parts. Upper section, which may be separate, like steaming pan (tseng) with or without partition. Lower resembles li. Grid may divide sections. Tseng sometimes found alone. "Ears" on upper or lower part or both. Also square with four feet. See ill. p. xxix and N o . 59, ill. Alternatively called yen. HSU. Functions as chiu, but designed for use during expeditions. Similar to chiu in form, but oblate or, rarely, rectangular. Probably all had covers. Formerly classified as \uei. HU. Wine vessel of great diversity of shape. See ill. p. xxxi. Sometimes rectangular. See No. 185, ill. "Ears" sometimes in form of t'ao t'ieh masks holding rings. /. Water ewer associated with p'an. See ill. p. xxxi. Variations are three feet or none, animal head for spout, horizontal projection for handle. /. General term for ceremonial vessels. Also used for unclassified shapes. A houselike rectangular vessel with gabled cover is one of important nameless forms for which i is used. See Nos. 1, 2, ills. KU. For wine. See ill. p. xxxi and No. 53, ill. Narrow or wide beakers, round or square in section. xxviii

Chih

Chueh

Kuang

Tsun

Hsien

SHAPES AND NAMES OF C H I N E S E BRONZES

CLASSIFICATION OF SHAPES

KUANG.

For wine. See ill. p. xxix.

LEI. Large ovoid jar to hold wine or water to pour into smaller container. Wide shoulder and narrow neck. Much variation and often indistinguishable from p'ou and hu. Generally wider and shorter than hu and with shorter neck. With or without covers and "ears." Occasionally square. LI. Cooking vessel with three hollow legs following pottery prototype. Occasionally four legs. With or without "ears." Merges with class ting. LIEN. Toilet casket. Form not among classic ceremonial types, but characteristic of Han dynasty. Majority are cylindrical boxes on three legs. With or without handles and ringed "ears." All originally covered. P 'A N. Washing basin. Round or, occasionally, oval. Base or legs or, rarely, both. "Bent ears" characteristic. PING CHIEN and HSI. Two classes not clearly distinguishable. Also confused with yu and an. Ping chien, supposedly container for ice, more ancient. Typically a round or rectangular basin with "ears," which may hold rings. Base, feet, or podium. Hsi perhaps washing vessel. Confused with p'an, but deeper and does not have "bent ears." Rests on base, feet, or flat bottom of belly. P'OU. For food. Similar to lei, but body more spherical. Base characteristically well-defined but sometimes supplanted by feet. Contracted mouth. With or without cover and "ears." See No. 96, ill. TING. Cooking vessel often chosen to bear important inscriptions. Round, square, rectangular, or rectangular with rounded bottom. Three or four legs. With or without cover. Class ting merges with class li. Early type probably developing from neolithic pottery. See ill. p. xxix. TOU. For food. See ill. p. xxxi. Also shallow, coverless form. xxx

Tou

Chiu
SHAPES AND NAMES OF C H I N E S E BRONZES

C L A S S I F I C A T I O N OF SHAPES

TSUN. For wine. Name used as general term for ceremonial wine vessels, and usually applied to types unassignable to one of the specific classes. Large and wide types of \u and chih often catalogued as tsun. Term here restricted to wine vessels based on animal forms. See ill. p. xxix and Nos. 68-70, 90, ills. YU. For millet wine. See ill. p. xxxi and Nos. 3, 5, 8, ills.

YU. Probably for food. Characteristically a deep basin with "ears" and flaring mouth. One type has base and "bent ears"; another vertical loop handles and no base. Occasionally handles lacking. Not a common form, but resembles an, ping chien, and hsi. See No. 94, ill.
BELLS

Bells were used with drums as accompaniment to rituals as well as in military activities and daily life. CHENG. Function chiefly military. Handle hollow, decorated surface, no bosses. Wider proportions than chung. See No. 10, ill. Alternatively called cho. CHUNG. Clapperless, suspended, characterized by thirty-six bosses. Favorite bearers of inscriptions. One type, sometimes classified as po, has elaborate loop instead of handle. See No. 174, ill. TO. All clapper bells. Many types. Common form long and narrow with handles, usually undecorated. TUI. Clapperless, suspended, bulges near top of long round barrel. Animal usually forms loop on top. Sometimes called ch'un.

xxxn

CATALOGUE OF C H I N E S E BRONZES
C E R E M O N I A L BRONZES SHANG DYNASTY

i. C A N I S T E R (/'). H. n % in. w. 7%6 m - Shang. Illus. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 2. C A N I S T E R (/"). H . 9 in. w. 7 in. Shang. Illus. Mrs. William H . Moore 3. W I N E V E S S E L (yu) with cover, H. 7 % in. w. 5 in. Shang.

Illus.
Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 4. V E S S E L (four-legged rectangular ting), w. 6 % in. Shang. Inscribed. Mr. and Mrs. lames Marshall Plumer
H.

10% in. L. 7 % in.

5. W I N E V E S S E L (yu). H. 12% in. DI. 4 % in. Shang. Illus. Museum of Fine Arts, Boston 6. V E S S E L (chio) with cover, H . IO in. w. 9 in. Shang. Mrs. William H . Moore 7. V E S S E L (yu). H . 7Y2 Lent anonymously
m

- 5V4 in. Shang.

8. V E S S E L (yu). H. 1 0 % in. w. 7 % in. Shang. Illus. Mrs. Otto H . Kahn 9. V E S S E L (yu). Cover missing, H. 9%6 m Museum of Fine Arts, Boston
DI

- 5%

- Shang.

10. B E L L (cheng). H. 1 1 % in. w. 1 1 % in. Shang. Illus. Mrs. Christian R. Holmes 11. W I N E V E S S E L (chio). H. 10% in. w. from wing tip to tip 7 % in. Shang. Inscribed. Illus. Mrs. Christian R. Holmes [ i ]

CEREMONIAL

BRONZES

12. W I N E V E S S E L (four-legged chio). H. 8 % in. w. 6 % in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 13. V E S S E L (three-legged round ting), H. S 1 ^ in. DI. 6 % in. Shang. Alfred F . Pillsbury, courtesy of The Minneapolis Institute of Arts 14. V E S S E L (three-legged round ting), H . 7 % in. DI. 6 % in. Shang. Inscribed. William Rockhill Nelson Gallery of Art 15. V E S S E L (three-legged round ting), Shang. Horatio Seymour Rubens
H.

8 % in. DI. 6% in.

16. V E S S E L (four-legged rectangular ting), Shang. The Art Institute of Chicago 17. W I N E C U P (chih). Lent anonymously
H.

H.

6 % in. w. 5 % in.

4 % in. w. 5 % in. Shang. Inscribed. 6% in. DI. 5 % in. Shang.

18. V E S S E L (three-legged ting), Mrs. William H . Moore

H.

19. V E S S E L (three-legged round ting), H. 5 % in. DI. 5%6 in. Shang. Inscribed. William Rockhill Nelson Gallery of Art 20. V E S S E L (three-legged ting), Lent anonymously
H.

9 % 6 in. w. 7 % in. Shang.

21. F I T T I N G S FOR C H A R I O T (89). Shang or Early Chou. Illus. William Rockhill Nelson Gallery of Art 22. P A I R O F M O N S T E R M A S K S , H. I % in. Shang. Mrs. Chauncey Hamlin 23. P A I R OF F L A T P L A Q U E S in shape of birds, H. 3 % in. L. 7 % in. Shang. Mrs. Christian R. Holmes

[2]

SHANG DYNASTY 24. V E S S E L (four-legged rectangular ting), H . 10%- in. w. 7 1 % 6 i n . Shang. Inscribed. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 25. V E S S E L (lei) with cover, H. 22 in. Shang. Owen Roberts 26. W I N E V E S S E L (lei) with cover, H . i 4 1 / 4 e in. w. 8 % in. Shang. Inscribed. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 27. FOOD V E S S E L (chiu). H . 5 % in. w. 1 1 % in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 28. V E S S E L (three-legged ting),
H.

I 2 % 6 in. DI. at top I O % Q in.

Shang.
Horatio Seymour Rubens 29. L I B A T I O N c u p (chueh). Thomas J. Watson
H.

7 % in. w. 6 % in. Shang. i o % e in. DI. 7%6 in-

30. V E S S E L (three-legged chia). Early ( ? ) Shang. Horatio Seymour Rubens

H.

31. W I N E V E S S E L (chih) with cover, H. 8 % in. Shang. Inscribed. Horatio Seymour Rubens 32. W I N E V E S S E L (chio). Horatio Seymour Rubens
H.

DI.

4 % in.

5 x %6 in. DI. 4 % in. Shang. 7 in. L. 5 % in. w. 4 % in.

33. V E S S E L (four-legged ting), Shang. Inscribed. Horatio Seymour Rubens

H.

34. FOOD VESSEL (chiu). H. 5 % 6 in. w. 10% in. Shang. Horatio Seymour Rubens 35. C A U L D R O N (yu). H. 14% in. DI. 19 in. Shang. The Metropolitan Museum of Art

[3]

CEREMONIAL

BRONZES in. Shang.

36. FOOD V E S S E L (p'ou). H . 9 % in. DI. n% The Metropolitan Museum of Art

37. J A R (p'ou). H. 6 1 % 6 in. DI. at shoulder 10% in. Shang. Field Museum of Natural History 38. FOOD V E S S E L (p'ou). H. 9 % in. DI. 1 4 % in. Shang. Mrs. Christian R. Holmes 39. FOOD V E S S E L (p'ou). Owen Roberts 40. W I N E B E A K E R (\u). Inscribed. Lent anonymously
H.

15 in. w. 18 in. Shang. 7 % in. DI. 6 % in. Shang.

H.

41. FOOD V E S S E L (chiu). H . 6 in. w. 12 in. Shang. Inscribed. The Metropolitan Museum of Art 42. L I B A T I O N C U P (chueh). Lent anonymously 43. L I B A T I O N C U P (chueh). Henry K. Schoch 44. W I N E C U P (chih). Chou. Inscribed. Lent anonymously 45. FOOD VESSEL (chiu). Lent anonymously
H. H.

8 % in.

w. 7 % in.

Shang.

H.

8 % in.

w. 7% in.

Shang.

5 % in. w. 4 % in. Shang or Early

H.

6 % in. w. 12 in. Shang.

46. L I B A T I O N c u p (chueh). Mr. and Mrs. Edsel B. Ford

H.

13 in. Shang. Inscribed. Illus.

47. W I N E V E S S E L (chid) with lid. H. 1 3 % in. Shang. William Rockhill Nelson Gallery of Art 48. L I B A T I O N c u p (chueh). Inscribed. Mrs. Christian R. Holmes
H.

w. 8 % in.

Sy2 in. w. 7 in.

Shang.

[4]

SHANG DYNASTY 49. DAGGER, L. 9%6 in. w. 2 % 6 in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 50. DAGGER, L. n % in. Shang. Mrs. Dagny Carter 51. DAGGER, L. 1 5 % in. Shang. The Cleveland Museum of Art 52. A X H E A D . L. S 1 ^ ^ in. w. 5%6 in. Shang. The Cleveland Museum of Art 53. W I N E B E A K E R (\u). H. 1 1 % in. DI. 9 in. Shang. Inscribed. Illus. Mrs. Christian R. Holmes 54. W I N E V E S S E L (yu) with cover, H. IO in. w. 7 % in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 55. W I N E V E S S E L (chih). H. 5 % in. w. 3 % in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 56. FOOD V E S S E L (chiu). H. 1 1 % in. w. 1 3 % in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 57. FOOD V E S S E L (chiu). H. 6%g in. w. 1 1 % in. Shang. Inscribed. Mrs. Christian R. Holmes 58. W I N E B E A K E R (^u). Owen Roberts
H. I I

in. DI. 9 in. Shang. 14% in. DI. 9 % e in. Shang.

59. H E A T I N G V E S S E L (hsien). Illus. Horatio Seymour Rubens

H.

60. V E S S E L (yu) with cover, u. 6% in. L. 6 % in. w. 4 % in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 61. V E S S E L (yu) with cover, H. 9 in. Shang. Mr. and Mrs. I. H . R. Cromwell

[5]

CEREMONIAL 62. W I N E B E A K E R (\u). Paul Cravath 63. W I N E B E A K E R Paul Cravath (\u).

H.

BRONZES

12 in. DI. 6 % in. Shang. 12 in. DI. 6% in. Shang.

H.

64. W I N E B E A K E R (\u). H . n % in. DI. 6 % 6 in. Shang. Alfred F . Pillsbury, courtesy of The Minneapolis Institute of Arts 65. W I N E B E A K E R (\u). H. 12 in. DI. 6 % in. Shang. The Honorable and Mrs. Robert Woods Bliss 66. W I N E B E A K E R (\u). H. 12% in. DI. 7%6 in. Shang. Inscribed. Mrs. Christian R. Holmes 67. W I N E B E A K E R (\U). H. 1 3 % in. DI. 8% in. Shang. Inscribed. William Rockhill Nelson Gallery of Art 68. W I N E V E S S E L (tsun) in form of owl. H. 6 % in. Shang. Inscribed. Mrs. Christian R. Holmes 69. W I N E V E S S E L (tsun) Mrs. C. Suydam Cutting in form of owl. H. 5 % in. Shang. Shang.

70. W I N E V E S S E L (tsun) in form of owl. H. 16 in. Illus. The Honorable and Mrs. Robert Woods Bliss

71. T W O O R N A M E N T S pairs of rabbits, L. 6% $ in. and 5 % in. Shang. Mrs. Dagny Carter 72. P O L E S O C K E T , H. 8 % in. w. 4 1 % 6 in- Shang or Early Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 73. V E S S E L (three-legged round ting), H. 6 % in. w. 5%6 m Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts

[6]

SHANG DYNASTY 74. A X H E A D . L. 7 in. w. at bottom of blade 4 % in. Shang. Mrs. Dagny Carter 75. A X H E A D . L. 6 in. w. (greatest) 3 % in. Shang. Mrs. Christian R. Holmes 76. L A D L E , L. 8 in. Shang. Mrs. Christian R. Holmes 77. P A I R O F O R N A M E N T S buffalo heads, H. 3 % in. w. 2 1 : % 6 in. Shang or Early Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 78. L A D L E , L. 8% in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 79. W I N E V E S S E L (yu) with handle and cover, H . i 2 % 6 in. w. 5 % in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 80. AX OR K N I F E B L A D E , L. 8%g in. w. 4 in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 81. W I N E V E S S E L (chia). H. 10 in. Shang. Inscribed. Mrs. Christian R. Holmes 82. V E S S E L (//'). H. 5 in. Shang. Mrs. Christian R. Holmes 83. L A D L E , L. 1 3 % in. Shang. Mrs. Christian R. Holmes 84. W I N E C U P (chih). H. 5 in. Shang. Mrs. Chauncey Hamlin 85. DAGGER with jade blade, L. I O % in. w. 2 % in. Shang. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 86. K N I F E , L. 10 in. Shang. Mrs. Christian R. Holmes 87. K N I F E , L. i o 1 % 6 i n . Shang. Mrs. Christian R. Holmes

[7]

CEREMONIAL EARLY CHOU DYNASTY

BRONZES

88. SET OF S A C R I F I C I A L V E S S E L S . An assemblage of bronzes of the Shang and Chou dynasties supposedly found together. Formerly in the collection of Tuan Fang. Illus. Vessel (ho), H. 1 1 % in. w. 9 in. Wine vessel (chia). H. 12% in. w. 1 0 % in. Wine cup (chio). H. 7 % in. w. 5 % in. Early ( ? ) Shang. Wine cup (chih). H. 5 in. Wine cup (chih). H. 5 % in. Wine cup (chih) H. 5 % in. Wine beaker (k.u)> H. 8 % in. DI. 5 in. Shang. Table, H. 7 % in. L. 3 5 % in. w. 18% in. Wine vessel (chih). H - 5 % in. Wine vessel (yu). H. 1 8 % in. Wine vessel (yu). H. with stand 1 8 % in. w. 9 in. Libation cup (chueh). H. 9 % in. Wine vessel (\u). H. 1 3 % in. Ladle, L. 8 in. Early Chou. Six spoons, L. of each 12% in. Middle Chou. These were divorced from the set immediately after it was purchased. The Metropolitan Museum of Art 89. VESSEL (yu) with cover and handle, H. i3 1 Vi6 in. w. 1 1 % in. Early Chou. Illus. Museum of Fine Arts, Boston 90. W I N E V E S S E L (tsun) in form of buffalo, H. 6 % in. L. 8 % in. Early Chou or Shang. Illus. Fogg Art Museum 91. W I N E V E S S E L (tsun) in form of owl. H. 9 in. Early Chou. Illus. Mrs. William H . Moore 92. VESSEL (yu). Early Chou. William J. Cox Part of cover missing, H. 9 % in. w. 8 % 6 i n .

93. W I N E B E A K E R (\u). H . 7 % in. Inscribed. The University Museum, Philadelphia

DI.

7 in.

Early Chou.

[8]

EARLY C H O U DYNASTY 94. V E S S E L (yu). H. 1 1 % in. DI. 16% in. Early Chou. Illus. Inscribed. The Toledo Museum of Art 95. V E S S E L (yu) with cover and handle, H. 1 4 % 6 in. w. 9 in. Early Chou. Museum of Fine Arts, Boston 96. F O O D V E S S E L (p'ou) with cover, H. 2 1 % in. DI. 1 9 % in. Early Chou. Inscribed. Dated the 3d year of Chung Wang (1115-1077 B . C ) . Illus. The Metropolitan Museum of Art 97. FOOD VESSEL (p'ou) with cover, H. 18 in. Early Chou. The University Museum, Philadelphia 98. W I N E B E A K E R (I(u).
H.

9 % in. Early Chou or possibly

Shang.
The Cleveland Museum of Art 99. W I N E B E A K E R (\u). H. 8 1 % 6 i n . DI. 8 % 6 i n . Early Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 100. FOOD V E S S E L (chiu) with podium, H . i o % e in. w. 1 3 % in. Early Chou. 101. L A D L E , L. 8 % in. Early Chou. Found with chiu N o . 100. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 102. FOOD V E S S E L (chiu) with podium. Small bell suspended inside podium, H. 1 2 % in. w. 1 3 % in. Late Shang or Early Chou. Mrs. William H . Moore 103. W I N E V E S S E L (yu) with cover and handle, w. 8 % in. Early Chou. Mrs. Christian R. Holmes
H.

1 1 % in.

104. W I N E V E S S E L (yu) with cover (handle missing), H. 9 in. w. 8 in. Early Chou. IO5. JADE BEADS AND THREE MEDALLIONS of inlaid bronze found in yu No. 104. Mrs. Christian R. Holmes

[9]

CEREMONIAL

BRONZES

106. L I B A T I O N c u p (chio) with cover, H . 7 % in. L. 7 % in. Early Chou. Mrs. Christian R. Holmes 107. C A N I S T E R (i). H. 10% in. L. 6 % in. Early Chou. Mrs. Christian R. Holmes 108. W I N E V E S S E L (\uang). Illus. Mrs. Christian R. Holmes 109. W I N E V E S S E L (\uang). Mrs. Christian R. Holmes
H.

8%e in. L. 9 in. Early Chou.

H.

7 in. Early Chou.

n o . W I N E V E S S E L (yu) with cover and handle, H. 8 % in. w. 7 % in. Early Chou. Alfred F . Pillsbury, courtesy of T h e Minneapolis Institute of Arts i n . W I N E V E S S E L (chih) with cover, H. 1 5 % in. w. 1 3 % in. Early Chou. Owen Roberts 112. V E S S E L (three-legged round ting), H. 8 in. DI. 6 in. Early Chou. William Rockhill Nelson Gallery of Art 113. FOOD VESSEL (chiu). H. 5 % in. DI. 10% in. Early Chou. Museum of Fine Arts, Boston 114. FOOD VESSEL (chiu) with cover, four handles, and podium, H. 1 1 % in. w. 9 % in. DI. 7%6 in. Early Chou. Illus. Mrs. C. Suydam Cutting 115. FOOD V E S S E L (chiu). Chou. Horatio Seymour Rubens 116. FOOD V E S S E L (chiu). Horatio Seymour Rubens 117. FOOD V E S S E L (chiu). Lent anonymously
H. H.

5 % in.

w. i o 1 % 6 in.

Early

4 1 % 6 i n . w. 9 % in. Early Chou. 6 % in. w. 10 in. Early Chou.

H.

[10]

EARLY C H O U DYNASTY 118. T W O B I R D S on cylindrical bases, H . 9%6 in. and 6 % in. Early Chou. (Nos. 118-120 probably Shang.) Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 119. BIRD on cylindrical base. H. 7 % in. Early Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 120. B I R D . H. 5 % in. Early Chou. Illus. Alfred F. Pillsbury, courtesy of T h e Minneapolis Institute of Arts 121. C H A R I O T K E Y decorated with monster mask. Early Chou. Mrs. Chauncey Hamlin 122. T I G E R ' S H E A D . Inlaid with turquoise, H . 2 % in. w. (greatest) 2 % in. Early Chou. Henry K. Schoch 123. P A I R O F M O N S T E R M A S K S ,
H. I % H.

4 in.

in. w. 2 in.

Early

Chou.
Raymond A. Bidwell 124. P O L E E N D . H u m a n face and monster mask on front; monster mask and animal head on back. H . 5 % in. w. 4 % in. Early Chou. Illus. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 125. F I N I A L . Monster mask on one side, human face on the other, H. 6 % in. w. 4 % in. Early Chou. Illus. Mrs. William H . Moore 126. W I N E V E S S E L (chih) Owen Roberts with cover, H . 10 in. Early Chou.

127. W I N E V E S S E L (chih). H . 9 % in. Early Chou. Inscribed. The University Museum, Philadelphia MIDDLE CHOU DYNASTY

128. FOOD V E S S E L (chiu). H. 4 in. DI. 7 % in. Middle Chou. Inscribed. Mrs. Christian R. Holmes

CEREMONIAL

BRONZES Middle

129. FOOD V E S S E L (hsu). H. n % in. w. 1 7 % in. Chou. Inscribed (probably 9th century B.C.). William Rockhill Nelson Gallery of Art 130. FOOD VESSEL (chiu) Middle Chou. Inscribed. Horatio Seymour Rubens

with cover, H. 9 % in. w. 1 3 % in.

131. FOOD VESSEL (chiu). H . 8 % in. w. 12% in. Chou. Inscribed (8th-7th century B . C ) . Illus. Mrs. William H . Moore 132. G O U R D - S H A P E D V E S S E L (hu). Field Museum of Natural History
H.

Middle

n % in. Middle Chou.

133. W A T E R E W E R (/'). H. 6 % in. L. 12 in. Middle Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 134. WATER E W E R (/*). H. 8 % in. L. 17% in. Middle Chou. The Cleveland Museum of Art 135. WATER E W E R (/ ) . Inscribed. Lent anonymously
H.

8 in. w. 14% in. Middle Chou.

136. V E S S E L (//*). H . 5 % in. DI. 7 % 6 in. Middle Chou. Inscribed (ioth century B . C ) . William Rockhill Nelson Gallery of Art 137. V E S S E L (three-legged ting), Chou. Inscribed. Illus. Horatio Seymour Rubens
H.

6 % in. DI. 5 % in. Middle

138. FOOD V E S S E L (tou). H. 5 % in. DI. 9 % in. Middle Chou. Mrs. Christian R. Holmes 139. FOOD V E S S E L (tou). Mrs. William H . Moore
H.

5 % in. DI. 9 in. Middle Chou.

140. B E A K E R (\u). H. I I % in. w. 6 in. Middle Chou. William Rockhill Nelson Gallery of Art [12]

M I D D L E C H O U DYNASTY 141. S T E A M I N G V E S S E L (tseng, top of hsien). DI. 12% in. Middle Chou. Illus. The Metropolitan Museum of Art
H.

9 % in.

142. P A I R OF P L A Q U E S w i n g e d lions, L. 4 % in. w. 2 1 % 6 i n . Middle Chou. Mrs. Christian R. Holmes

143. BRICK-SHAPED BRONZE.
DI

H. 8 % g

L. I 5 % 6

- 3 % G in. Middle Chou. Illus. Field Museum of Natural History 144. P O L E E N D in form of spiral dragon, H. 1 3 % in. w. 9 % in. Middle Chou. Illus. William Rockhill Nelson Gallery of Art 145. V E S S E L in form of duck. H . 9 % in. L. 8 in. Middle Chou. Illus. William Rockhill Nelson Gallery of Art
146. RECLINING BUFFALO. H. 4 1 % 6
m

- L. 6 1 % e i n -

Middle

or Early Chou. Illus. Alfred F. Pillsbury, courtesy of T h e Minneapolis Institute of Arts 147. T I G E R , H. 5 % 6 in. L. i o 1 % 6 i n . Middle Chou. Illus. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 148. P A I R O F F A N T A S T I C A N I M A L S . Each: H. 7 in., L. 8 % 6 in. Middle Chou. Illus. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 149. T H R E E F A N T A S T I C B I R D S . T W O (each): H. 4 % in., w. 5 % in.; one: H. 3 % in., w. 5 % in. Middle Chou. Illus. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 150. P A I R OF F A L C O N S . Each: H. 1 % in., L. 2 1 % 6 in. Middle

Chou.
Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 151. P A I R OF H U B CAPSbuffalo heads with spiral horns. Each: H. 3 % in., w. 1% in. Middle Chou. Raymond A. Bidwell [13]

CEREMONIAL

BRONZES

152. P A I R O F P L A Q U E S t i g e r s and deer. Each: H. 4 in., L. 6 in. Middle or Late Chou. Henry K. Schoch 153. M O N S T E R M A S K . Illus. Mrs. Dagny Carter 154. M O N S T E R M A S K . William J. Cox
H.

io in. w. 12% in. Middle Chou.

H.

3 % in. w. 4 % in. Middle Chou. L. of each: I I % 6

m

155. PAIR OF HARNESS ORNAMENTS. Middle or Late Chou. Mrs. Dagny Carter

156. P A I R O F H A R N E S S T R A P P I N G S h o r s e masks with monster masks in center. Each: H. 8 % in., w. 3 % in. Middle Chou. The Metropolitan Museum of Art 157. H A R N E S S O R N A M E N T h o r s e mask. H. 7 % in. w. 3 % in. Middle Chou. The Metropolitan Museum of Art 158. K N E E L I N G A N I M A L (hou). Horatio Seymour Rubens
H.

3 % in.

Middle Chou.

159. V E S S E L (incense burner?), H. 8 % in. Middle Chou. Illus. Mrs. Christian R. Holmes 160. B E L L (tui). H. 2 0 % in. DI. 1 1 % in. Middle Chou. The Metropolitan Museum of Art LATE CHOU DYNASTY

161. S E T O F F I F T E E N B R O N Z E S recently excavated near Ch'ang Sha, Hunan. Four long-necked birds, H. 6 % 6 in. Illus. Four small birds, H. 3 1 % e in. Pair of ring handles decorated with monster masks, H. 3 % in. w. 2 % in. Pair of chariot axle caps with pins. L. 2 % in. DI. (outside rim) 2 % in. L. of pins 2iyiQ in. Cover of ritual vessel, DI. 4 % 6 in. Late Chou (Ch'u State). John Hadley Cox, courtesy of Gallery of Fine Arts, Yale University [14]

LATE C H O U DYNASTY 162. P A I R OF DOOR H A N D L E S decorated with double monster masks, DI. of rings 4 in. H. of masks 4 % in., w. 3 % in. Late

Chou.
William J. Cox 163. H E A T I N G V E S S E L (chiao tou). Late Chou. Horatio Seymour Rubens
H.

7 % in.

L. 1 1 % in.

164. F I N I A L in shape of crane's head. H. 7 % in. Late Chou. Illus. William Rockhill Nelson Gallery of Art 165. FOOD V E S S E L (tou) with cover, H. 10% in. DI. 9 % in. Late Chou. The Metropolitan Museum of Art 166. W I N E B O T T L E (hu). H. 12% in. w. i 2 % 6 in. Late Chou. Field Museum of Natural History 167. C O V E R E D V E S S E L (ting). Chou. Raymond A. Bidwell H. 9 % in. DI. 10% in. Late

168. V E S S E L (three-legged round ting) with cover, H. 1 3 % in. w. 19% in. Late Chou. Mrs. Christian R. Holmes 169. V E S S E L (yu). H. 7 in. w. 7 % in. Late Chou. Lent anonymously 170. H U B CAP with knife-blade ornament, L. 1 1 % in. DI. 3 % in. Late Chou. William Rockhill Nelson Gallery of Art 171. B E L L T O P (to), H. 16% in. DI. of handle 4% in. Late Chou. Charles B. Hoyt, courtesy of the Fogg Art Museum 172. W I N E J A R (lei), H. 10 in. w. 12% in. Late Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts [ 15]

CEREMONIAL

BRONZES

173. W I N E J A R (hu). H. 1 1 % in. w. 9% in. Late Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 174. B E L L (chung). H. 8 in. w. 5 % in. Late Chou. Illus. Mrs. Christian R. Holmes 175. W A T E R E W E R (/). H. 2 in. L. 6 % in. Late Chou. Horatio Seymour Rubens
I76. PAIR OF CHARIOT HUB CAPS with pins. L. 3 % 6 i n -

DI. 3%6 in* L- of pins 3%6 in- Late Chou. Mrs. Dagny Carter 177. S T A F F F I N I A L . Gilt-bronze inlaid with copper and silver. H. 5 % 6 in. Late Chou. Illus. The Cleveland Museum of Art 178. P A I R OF T A B L E LEGSbears. Inlaid with gold and silver. H. of each: 5 in. Late Chou. William Rockhill Nelson Gallery of Art 179. OVAL V E S S E L with poised frogs at ends. H. 7 % in. L. 9 % in. Late Chou. Mrs. Christian R. Holmes 180. DAGGER H I L T . Inlaid, L. 5 % in. w. 1 % in. Late Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 181. H A L B E R D inlaid with silver, H. 5 % 6 in. w. 8 in. Late

Chou.
Russell Tyson, courtesy of The Art Institute of Chicago 182. DAGGER H A N D L E S inlaid with gold and silver, L. 5 % in. and 4 % in. Late Chou. Alfred F. Pillsbury, courtesy of T h e Minneapolis Institute of Arts 183. P O L E E N D in form of dragon's head. Chou. T h e Metropolitan Museum of Art
L.

12% in.

Late

184. W I N E J A R (hu). H. 1 3 % in. DI. 4 % in. Late Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts [16]

LATE C H O U DYNASTY 185. F O U R - S I D E D W I N E J A R (hu) inlaid with malachite, H. 14% in. Body 8 % in. sq. Late Chou (prior to 3d century). Inscribed. Illus. The University Museum, Philadelphia 186. W I N E V E S S E L (hu). H . 1 7 % in. DI. 5 % in. Late Chou. The Metropolitan Museum of Art 187. W I N E V E S S E L (hu) inlaid with gold. H. I I in. DI. 3 % in. Late Chou. Illus. The Cleveland Museum of Art 188. B A S I N (p'an). H. 3 % in. DI. 1 7 % in. Late Chou. Made for the Marquis of Ch'i. Inscribed. The Metropolitan Museum of Art 189. D U C K - S H A P E D E W E R (/). H . 5 % in. L. 1 2 % in. Chou. Made for the Marquis of Ch'i. Inscribed. T h e Metropolitan Museum of Art Late

190. FOOD B O W L (an) with cover, H. 7 % in. DI. 9 % in. Late Chou. Made for the Marquis of Ch'i. Inscribed. The Metropolitan Museum of Art 191. W I N E V E S S E L (hu) with cover, H . 5 % in. w. (greatest) 6 in. Late Chou. William Rockhill Nelson Gallery of Art 192. J A R (hu) with cover, H. 1 3 % in. DI. 9 in. Late Chou. Lent anonymously 193. T O I L E T BOX (lien), H. 9 in. DI. 9 in. Very late Chou. Mrs. Christian R. Holmes 194. V E S S E L (an) with cover, H. 6 % in. DI. 6 % in. Late Chou. The Metropolitan Museum of Art 195. T O I L E T BOX (lien). Gilt-bronze, H. 7 in. Late Chou. Mrs. Christian R. Holmes 196. E G G - S H A P E D V E S S E L (an) with cover, H. 7 % in. w. 7 in. Late Chou. Henry K. Schoch

[17]

CEREMONIAL

BRONZES

197. VESSEL (an) with cover, H. 4 % in. w. 8 % 6 in. Late Chou. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts 198. K N E E L I N G M A N . H. 9 % in. Late Chou (4th century B . C or earlier). Raymond A. Bidwell 199. MAN holding two small jade birds on poles, H. I I % in. Late Chou (4th~3d century B . C ) . Museum of Fine Arts, Boston 200. K N I F E with curved handle, L. 1 3 % in. Late Chou. Mrs. Christian R. Holmes 201. F L A T R I N G inlaid with gold and silver, DI. 7%6 in. Late Chou. Illus. The Honorable and Mrs. Robert Woods Bliss 202. I C E D I S H (ping chien). H. 3 % in. L. 7 % in. w. 3 % in. Late Chou. The Metropolitan Museum of Art 203. SCABBARD M O U N T , L. 8 % 6 in. Late Chou. Mrs. Christian R. Holmes HAN
204.

DYNASTY
H I L L CENSER, H. 7 % in. w. 4 % in. Han.

Alfred F . Pillsbury, courtesy of T h e Minneapolis Institute of Arts

205. H I L L CENSER, H. 2 % in. Han.

Field Museum of Natural History

206. H I L L CENSER, H . 8 1 % 6 in. Han.

Field Museum of Natural History 207. H I L L C E N S E R , H. 9 % in. H a n or earlier. Mrs. Christian R. Holmes 208. B O W L . H. 3 % in. DI. 7 % in. H a n or later. Mrs. Christian R. Holmes

[18]

H A N DYNASTY 209. B O T T L E (A). H. n % 6 in. H a n or later. Field Museum of Natural History 210. B U L B O U S V E S S E L with high neck. H. 5 % in. H a n . Mrs. Christian R. Holmes 211. S M A L L CAGE with two rabbits. Cage 4 % in. sq. H a n or earlier. Mrs. W . Murray Crane 212. WATER H O L D E R in form of kneeling ram. H . 4 in. L. 5 % in. H a n or earlier. Mrs. Christian R. Holmes 213. C R O U C H I N G T I G E R with traces of gold inlay, H. 2 in. L. 5 % in. H a n . The Metropolitan Museum of Art 214. H O R S E , H. 3 % in. L. 3 % in. H a n (style of Hsiao T'ang

Shan).
The Metropolitan Museum of Art 215. H O R S E , H . 2 % in. H a n (style of Hsiao T'ang Shan). Lent anonymously 216. H O R N E D A N I M A L , H. 2 % in. H a n or earlier. Lent anonymously
217. M O N E Y T R E E . H. 1 0 % in. Han.

Mrs. Christian R. Holmes MIRRORS 218. DI. 2 1 % 6 in. Late Chou. Mrs. Christian R. Holmes 219. DI. 3 1 % 6 in. Late Chou. Mrs. Christian R. Holmes 220. DI. 1 15/Q in. Ch'in. Mrs. Christian R. Holmes 221. DI. 5 % in. Late Chou. Mrs. Chauncey Hamlin 222. DI. 5 % in. Late Chou. Mrs. Christian R. Holmes 223. DI. 5 % in. Late Chou. Mrs. Christian R. Holmes [19]

MIRRORS 224. Gilt-bronze, DI. 5 % in. Rim % 6 in. thick. Attributed to 4th century A.D. Inscribed. Raymond A. Bidwell 225. DI. 6 % in. Rim % 6 in. thick. Late Chou. Raymond A. Bidwell 226. DI. 1 % in. Rim % 2 in. thick. Late Chou. Raymond A. Bidwell 227. Fragments of a mirror, DI. 6 in. Late Chou. Mrs. Chauncey Hamlin 228. DI. 3 % in. Late Chou. Mrs. Chauncey Hamlin 229. DI. 4 in. Late Chou. Henry K. Schoch 230. DI. 7 % in. Late Chou. Mrs. Christian R. Holmes 231. DI. 8 % in. Late Chou. Mrs. Christian R. Holmes 232. DI. 5 % in. H a n or earlier. Inscribed. Mrs. Christian R. Holmes 233. Iron inlaid with thin gold plaque, DI. 6 % in. H a n (early 1 st century A.D.). Lent anonymously 234. DI. 8 % in. Rim % 2 in. thick. Han. Inscribed. Raymond A. Bidwell 235. Lacquer and silver-applique decoration, DI. 4 % in. H a n . The Metropolitan Museum of Art 236. Flat gold plaque mounted on mirror, DI. 8 % in. Mrs. Christian R. Holmes 237. Silver-bronze, DI. 7 % in. Six Dynasties. Inscribed. Mrs. Christian R. Holmes 238. DI. 8 % in. Wei. Inscribed. Horatio Seymour Rubens 239. DI. 12% in. T'ang or earlier. Inscribed. Field Museum of Natural History
[20]

T'ang.

MIRRORS 240. Octagonal, DI. 2 in. T'ang. Mrs. Christian R. Holmes 241. Inlaid with gold filigree. Hexagonal, DI. 2 % 6 in. T'ang. The Honorable and Mrs. Robert Woods Bliss 242. Bronze and silver. Hexagonal, DI. 2 % in. T'ang. Mrs. Christian R. Holmes 243. Silver-bronze. 4 1 % 6 in. x 5 in. T'ang or earlier. Mrs. Christian R. Holmes 244. DI. 6 1 % 6 in. T'ang. Inscribed. Field Museum of Natural History 245. Lacquered and inlaid with gold and silver. Early T'ang. Illus. Mrs. Christian R. Holmes 6 % in. sq.

246. Inlaid with silver plaque. Octagonal, DI. 7 % in. Rim % in. thick. T'ang. The University Museum, Philadelphia 247. Lacquer and silver-applique decoration, DI. I I in. T'ang. The Metropolitan Museum of Art 248. Silvered bronze, DI. 8 % in. T'ang. T h e Metropolitan Museum of Art 249. DI. 5 % in. T'ang. Henry K. Schoch 250. Octagonal, DI. 6 % 6 in. Rim % in. thick. T'ang. Raymond A. Bidwell 251. DI. 5 % in. Rim % in. thick. T'ang. Raymond A. Bidwell 252. DI. 6% in. Rim % in. thick. T'ang. Raymond A. Bidwell 253. DI. 5 in. Rim % 6 in. thick. T'ang. Raymond A. Bidwell 254. DI. 8 % in. T'ang. Charles B. Hoyt, courtesy of the Fogg Art Museum 255. DI. 9 % in. T'ang. Illus. Charles B. Hoyt, courtesy of the Fogg Art Museum 256. Inlaid with silver plaque. Octagonal, DI. 9 % in. T'ang. Mrs. Christian R. Holmes [21]

MIRRORS 257. 4 % in. sq. T'ang. Mrs. Christian R. Holmes 258. Silver-bronze, DI. 7 % in. T'ang. Mrs. Christian R. Holmes 259. DI. 7 % in. T'ang. Mrs. Christian R. Holmes 260. DI. 8%e in. T'ang. Mrs. Christian R. Holmes

BUDDHIST BRONZES 261. SEATED S A K Y A M U N I . Gilt-bronze, H. 6 % in. Wei (late 5th or early 6th century). William Rockhill Nelson Gallery of Art 262. SEATED B U D D H A . Gilt-bronze, H. 4 % in. Wei (5th century). Style of Yun Kang. Lent anonymously 263. SEATED BODHISATTVA. H . 4 % in. Wei (late 5th century). Style of Yun Kang. Laurence Sickman 264. M A I T R E Y A . Gilt-bronze, H . 5 5 % in. Wei. Inscribed and dated (A.D. 477). The Metropolitan Museum of Art 265. K N E E L I N G APSARAS. Gilt-bronze, H. 4 % in. w. 2^4 in. Wei (about A.D. 500). William Rockhill Nelson Gallery of Art 266. M A I T R E Y A . Gilt-bronze, H. 24 in. Wei. dated (A.D. 536). The University Museum, Philadelphia 267. M A I T R E Y A . Gilt-bronze, H. 4 % in. Wei. Robert Treat Paine, Jr. 268. B U D D H I S T A L T A R P I E C E . Gilt-bronze, H. 2 3 % in. w. 8 % in. Wei (6th century). Illus. Mrs. John D . Rockefeller, Jr. [22] Inscribed and

BUDDHIST

BRONZES

269. B U D D H I S T A L T A R P I E C E . Gilt-bronze, H. 3 0 % in. w. 14% in. Wei. Inscribed and dated (A.D. 522). Illus. Mrs. John D . Rockefeller, Jr.
27O. BODHISATTVA W I T H TWO ATTENDANTS. Gilt-bronZC

H. with pedestal 8 % in. Sui. Inscribed and dated (A.D. 590). Mrs. Christian R. Holmes 271. K U A N Y I N . Gilt-bronze, H. 9 % in. Wei. Mrs. John D . Rockefeller, Jr. 272. G U A R D I A N . Gilt-bronze, H. I % in. Wei. Lent anonymously 273. L I O N . Gilt-bronze, H. 4 % in. w. 2 % in. Wei. Mrs. John D . Rockefeller, Jr. 274. B U D D H I S T T R I N I T Y . Gilt-bronze, H. 8 in. Sui. Inscribed and dated (A.D. 611). Mrs. Christian R. Holmes
2 7 5 . PRABHUTARATNA AND SAKYAMUNI E X P O U N D I N G THE

.-.-' ;

LAW. Gilt-bronze, H. 8 % in. Sui. Inscribed and dated (A.D. 609). Mrs. Christian R. Holmes 276. SEATED B U D D H A . Gilt-bronze, H. 7 % e in. Wei. Mrs. Christian R. Holmes 277. BODHISATTVA. Gilt-bronze, H. 5 % in. Sui. Lucian Guy Blackmer 278. P R I E S T . Gilt-bronze, H. 5 % in. Sui. Mrs. Christian R. Holmes 279. BUDDHA AND T W O B O D H I S A T T V A S . Gilt-bronze. Sui. H. of Buddha 16% in., of each bodhisattva 1 3 % in. Closely related stylistically to the Tuan Fang altar (dated A.D. 594) in the Museum of Fine Arts, Boston. Illus. The University Museum, Philadelphia 280. M A I T R E Y A . Gilt-bronze, H. 7 % 6 in. Sui (6th century). Field Museum of Natural History

[23]

BUDDHIST

BRONZES

281. BODHISATTVA (probably Kuan Yin). Gilt-bronze. H . 10% in. Sui. William Rockhill Nelson Gallery of Art 282. SEATED BODHISATTVA. Gilt-bronze, H. 6 in. Sui (late 6th century). Lent anonymously 283. BODHISATTVA. Gilt-bronze, H. 19% in. Sui ( ? ) . Indian influence. Mrs. John D. Rockefeller, Jr. 284. KUAN Y I N . Gilt-bronze, H. 1 7 % in. Sui. The Metropolitan Museum of Art 285. SEATED MAITREYA. H. 4 in. Sui. The Metropolitan Museum of Art 286. MAITREYA. H. 5 % in. Sui. Lent anonymously 287. BODHISATTVA. Gilt-bronze, H. 5 % in. Sui. Lent anonymously 288. B O D H I S A T T V A . Gilt-bronze, H. 7 % in. Sui (6th century). Dr. and Mrs. James B. Murphy 289. M O N K (Kasyapa?). H. 2 5 % in. Six Dynasties. The Metropolitan Museum of Art 290. SEATED B U D D H A . Gilt-bronze, H. 8 in. T'ang. Illus. Mrs. Christian R. Holmes 291. G U A R D I A N . Gilt-bronze, H. 3 % in. Early T'ang. Mrs. Christian R. Holmes 292. SEATED BODHISATTVA. H. 6 in. T'ang. Laurence Sickman 293. K U A N Y I N . Gilt-bronze, H . 9 in. T'ang. Mrs. John D . Rockefeller, Jr.

[24]

BUDDHIST 294. BODHISATTVA. Shan). Lent anonymously

H.

BRONZES T'ang (style of T'ien Lung

5 % in.

295. G U A R D I A N . Gilt-bronze, H. 3 % in. Early T'ang. Lent anonymously 296. L O T U S . Gilt-bronze, H. 4 in. T'ang. The Metropolitan Museum of Art 297. L I O N P E D E S T A L for P'u Hsien (Samantabhadra). H . 2 % in. L. 4 % in. T'ang. Lent anonymously 298. L I O N . Gilt-bronze, H. 9 % in. T'ang. Mrs. John D . Rockefeller, Jr. 299. L I O N . Gilt-bronze, H. 2 % in. T'ang. T h e Metropolitan Museum of Art 300. K U A N Y I N . Gilt-bronze, H . 7 % in. Late T'ang. Lucian Guy Blackmer 301. SEATED B U D D H A . H. 7% in. w. 4 in. Early T'ang. William Rockhill Nelson Gallery of Art 302. B U D D H I S T S E A L . Gilt-bronze, Early T'ang. Mrs. Christian R. Holmes
L.

3 % in. w. 2 1 % 6 in.

303. B U D D H I S T T R I N I T Y T i Tsang ( ? ) with two bodhisattvas. Gilt-bronze, H. 8 % in. w. 7 in. T'ang. Charles B. Hoyt, courtesy of the Fogg Art Museum 304. K U A N Y I N . Gilt-bronze, H. 28 in. Late T'ang. The University Museum, Philadelphia 305. L O H A N . Gilt-bronze, H. 3 % in. T'ang or earlier. Mr. and Mrs. James Marshall Plumer, courtesy of the Fogg Art Museum

[25]

BUDDHIST

BRONZES

306. B U D D H A . Gilt-bronze, H. 5 % in. T'ang. Mr. and Mrs. James Marshall Plumer, courtesy of the Fogg Art Museum 307. BODHI TREE WITH DHYANI BUDDHAS. Gilt-bronze. H. 5 % 6 i n . T'ang. Mr. and Mrs. James Marshall Plumer, courtesy of the Fogg Art Museum 308. APSARAS. Gilt-bronze, H. 4 % in. T'ang. Mr. and Mrs. James Marshall Plumer, courtesy of the Fogg Art Museum 309. BODHISATTVA. H. 13 in. Sung. The Metropolitan Museum of Art 310. SEATED BODHISATTVA. Gilt-bronze, H . 9 % in. Base % in. sq. Sung. Philadelphia Museum of Art

MISCELLANEOUS BRONZES 311. A N I M A L I N F L A T O U T L I N E (pig? porcupine? boat?), H. 7 in. L. 18 in. Possibly early Shang. The Honorable and Mrs. Robert Woods Bliss 312. P A I R OF H O R S E S . Silver-bronze, H. 6% in. L. 9 % in.

Shang(?).
Leonard C. Hanna, Jr. 313. R A B B I T , H . 5 % in. Date uncertain. Mrs. C. Suydam Cutting 314. V E S S E L (tou). Arnold Genthe
H.

7 % in. w. 8% in. Late Chou style.

315. B U C K L E with turquoise inlay, L. 2 % in. Late Chou. Mrs. Christian R. Holmes

[26]

MISCELLANEOUS BRONZES
316. B U C K L E with traces of inlay, L. 8 % in. Late Chou. Mrs. Christian R. Holmes 317. B U C K L E . Gilt-bronze with jade inlay, Chou. Mrs. Christian R. Holmes 318. B U C K L E . Gilt-bronze with jade inlay, Chou. Mrs. Christian R. Holmes
L.

6 % in. Late

L.

7 % in.

Late

319. B U C K L E with silver inlay, L. 9 in. Late Chou. Mrs. Christian R. Holmes 320. B U C K L E with silver inlay, L. 6 % in. Late Chou. Mrs. Christian R. Holmes 321. B U C K L E . Gilt-bronze, L. 6 % in. Late Chou. Mrs. Christian R. Holmes 322. B U C K L E with gold and silver inlay, L. 8 % in. Late Chou. Mrs. Christian R. Holmes 323. B U C K L E with gold and silver inlay, L. 2 % in. Late Chou. Mrs. Christian R. Holmes 324. B U C K L E inlaid with gilt-bronze and jade plaques. L. 8% in. Late Chou. Mrs. Christian R. Holmes 325. B U C K L E . Iron with gold and silver inlay, L. 9 % in. Late Chou. Mrs. Christian R. Holmes 326. B U C K L E . Gilt-bronze inlaid with jade plaque, L. 2 % in. Late Chou. Mrs. Christian R. Holmes 327. B U C K L E . Gilt-bronze with jade and glass inlay, L. 9 in. Late Chou. The Honorable and Mrs. Robert Woods Bliss

[27]

MISCELLANEOUS

BRONZES

328. B U C K L E . Cloisonne, L. 8 % in. H a n . Mrs. Christian R. Holmes 329. B U C K L E . Gilt-bronze with turquoise inlay, L. 4 in. H a n . Mrs. Dagny Carter 330. DRAGON, H . 14 in. w. 8% in. H a n or later. Mrs. John D . Rockefeller, Jr. 331. P H O E N I X . Gilt-bronze, H . 3 % in. Wei ( ? ) . Mrs. Christian R. Holmes 332. P A I R O F W A L K I N G DRAGONS. w. 3 % in. Six Dynasties. The Metropolitan Museum of Art Gilt-bronze,
H.

2 % in.

333. I N T E R T W I N E D D U C K S . Engraved and inlaid with gold. L. 3 % in. Six Dynasties. Field Museum of Natural History 334. M O N S T E R M A S K . Gilt-bronze, H . 5 % 6 in. w. 7 % in. Six Dynasties. The Cleveland Museum of Art 335. F O U R S I G N S O F T H E Z O D I A C (dog, ram, pig, and hare). H. of three 7 % in., of one 7 % in. Sixth century or earlier. Samuel C. Davis 336. W A L K I N G DRAGON, H. 4 % in. L. 6 % in. T'ang. Albert E. McVitty 337. T I G E R . Gilt-bronze, H. 2 in. L. 3 in. T'ang or earlier. Mrs. Christian R. Holmes 338. I N C E N S E B U R N E R . Gilt-bronze, H. 9 % in. DI. of lid 7 in. T'ang or earlier. Mrs. Christian R. Holmes 339. SEATED LAO T S E . Gilt-bronze, H . 2 % in. Six Dynasties or early T'ang. Mr. and Mrs. Nelson A. Rockefeller 340. SEATED LAO T S E . H . 9 % in. Sung or earlier. Mrs. John D . Rockefeller, Jr.

[28]

ADDENDA

The objects listed below were received too late to be included in the catalogue proper. 341. VESSEL (three-legged round ting), Shang. 342. DAGGER, L. 10% in. Shang. 343. DAGGER, L. 1 7 % in. Shang. 344. FOOD V E S S E L (chiu).
H.

H. 6% in. DI. 5 % in.

6 % in. DI. 12% in. Early Chou.

345. F I T T I N G S F O R C H A R I O T ( 4 ) . Early Chou. 346. P I N . L. 6 % in. Early Chou. 347. P A I R O F H U B CAPS with pins. L. of pins 4 % in. Middle Chou.
L.

6 % in.

DI.

2 % in.

348. F I T T I N G S F O R C H A R I O T ( 3 ) . Middle Chou. 349. T I G E R (vase support), L. 4 % in. H. 3 % in. Middle Chou. 350. P A I R O F H U B CAPS with pins. L. 2 % in. DI. 2% in. L. of pins 2 % in. Late Chou. 351. P A I R O F H U B CAPS with pins. L. 2 % in. DI. 3 in. L. of pins 2 % in. Late Chou. 352. S P E A R H E A D , L. 8 % in. Late Chou. 353. P A I R O F DOOR H A N D L E S with monster masks, H . 4 % in. DI. of rings 2 % in. Late Chou. 354. B U C K L E , L. 3 % in. Late Chou. 355. B U C K L E , L. 3 % in. Late Chou. 356. B U C K L E , L. 3 in. Late Chou. 357. B U C K L E , L. 2 % in. Late Chou. 358. VESSEL (three-legged round ting), Late Chou.
H.

7 % in. DI. 10% in.

359. P O L E E N D inlaid with silver, L. 5 % in. Late Chou. 360. K N I F E ( ? ) H A N D L E , L. 6 in. Late Chou. 341-360. Alfred F. Pillsbury, courtesy of The Minneapolis Institute of Arts [29]

ADDENDA

361. W I N E V E S S E L (yu) with cover, H. 9 % in. Shang or Early Chou. 362. M A I T R E Y A . Gilt-bronze, H . 1 7 % in. Wei. The Detroit Institute of Arts 363. FOOD V E S S E L (p'ou).
H.

DI.

9% in.

7 % in. DI. io in. Shang.

Leo S. Bing
364. S T A F F E N D in form of dove. L. 5 in. H. 2 % in. H a n or earlier. Lent anonymously 365. FOOD VESSEL (tou). H. io in. DI. 8 % in. H a n . Mrs. Edward Sonnenschein 366. M I R R O R , DI. 5 % in. Rim % in. thick. Six Dynasties or earlier. 367. H E X A G O N A L M I R R O R . % in thick. T'ang. Silver-bronze, DI. I O % in. Rim

368. M I R R O R , DI. 8 % in. Rim % in. thick. T'ang. 369. M I R R O R . Silver-bronze with chased gold decoration. DI. 4 % in. Rim % 6 in. thick. T'ang. 370. BOX with cover. Chased gold decoration, H. I % in. DI. 1 % in. T'ang. 371. VASE. Gilt-bronze, H. 3 % in. DI. 3 % in. T'ang. 372. F L U T E D OVAL D I S H . Gilt-bronze, H. 1 % in. L. 7 % in. T'ang. 366-372. Charles B. Hoyt, courtesy of the Fogg Art Museum

ILLUSTRATIONS

Photograph. The Minneapolis Institute of Arts

C A T A L O G U E NO. I

CATALOGUE NO. 2

Photograph, The Minneapolis Institute of Arts CATALOGUE NO. 3

Photograph, Museum of Fine Arts, Boston C A T A L O G U E NO. 5

C A T A L O G U E NO. 8

r.'

C A T A L O G U E N O . IO

C A T A L O G U E NO. I I

Photograph, William Rockhill Nelson Gallery of Art C \ T A L O G U E NO. 2 1

( ourtesy ol Mr, and Mrs. Edsel B. Ford CATALOGUE NO. 4 6

CATALOGUE NO. 5 3

C A T A L O G U E NO. 5 9

Photograph, Lewis P. Woltz CATALOGUE NO. 7 0

CATALOGUE NO. 8 8

Photograph, Museum of Fine Arts, Boston C A T A L O G U E NO. 8 9

Photograph, Fogg Art Museum C A T A L O G U E NO. 9 0

CATALOGUE NO. 91

Photograph, The Toledo Museum of Art CATALOGUE NO. 9 4

CATALOGUE NO. 9 6

CATALOGUE NO. I 0 8

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