Chinese Bronzes - The Metropolitan Mueseum of Art

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    C H I N E S EBRONZES

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    C H I N E S E B R O N Z E S

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    T H E M E T R O P O L I T A N M U S E U M O F A R T

    CHINESEBRONZESO F T H ESHANG (1766-1122 B .C . )T H R O U G H T H E

    T'ANG D Y N A S T Y ( A . D . 6 1 8 - 9 0 6 )

    A N E X H I B I T I O NL E N T B Y A M E R I C A NC O L L E C T O R S A N D M U S E U M SA N D S H O W N I NG A L L E R Y D6F R O M O C T O B E R 19T H R O U G H N O V E M B E R 2 7N E W Y O R K , 1 9 3 8

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    C O P Y R I G H T B YT H E M E T R O P O L I T A N M U S E U M O F A RT

    O C T O B E R , I 9 3 8

    ^

    COCO0

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    L I S T O F L E N D E R SR A Y M O N D A . B I D W E L L

    L E O S . BINGL U C I A N G U Y B L A C K M E R

    T H E H O N O R A B L E A N D M R S . R O B E R T W O O D S B L I S SM R S . D A G N Y C A R T E RJ O H N H A D L E Y C O X

    W I L L I A M J . C OXM R S . W . M U R R A Y C R A N E

    P A U L C R A V A T HM R . A N D M R S . J . H . R . C R O M W E L L

    M R S . C . S U Y D A M C U T T I N GS A M U E L C . D A V I S

    M R . A N D M R S . E D S E L B . F O R DA R N O L D G E N T H E

    M R S . C H A U N C E Y H A M L I NL E O N A R D C . H A N N A , J R .

    M R S . C H R I S T I A N R . H O L M E SC H A R L E S B . H O Y T

    M R S . O T T O H . K A H NA L B E R T E . M C V I T T Y

    M R S . W I L L I A M H . M O O R ED R . A N D M R S . J A M E S B . M U R P H Y

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    L I S T O F L E N D E R SR O B E R T T R E A T P A I N E , J R .

    A L F R E D F . P I L L S B U R Y , BY C O U R T E S Y O FT H E M I N N E A P O L I S I N S T I T U T E OF ARTS

    M R . A N D M R S . J A M E S M A R S H A L L P L U M E RO W E N R O B E R T S

    M R S . J O H N D . R O C K E F E L L E R , J R .

    M R . A N D M R S . N E L S O N A . R O C K E F E L L E RH O R A T I O S E Y M O U R R U B E N S

    H E N R Y K . S C H O C HL A U R E N C E S I C K M A N

    M R S . E DW A RD S O N N E N S C H E I NR U S S E L L T Y S O N

    T H O M A S J . W A T S O NT H R E E A N O N Y M O U S L E N D E R S

    T H E A RT I N S T I T U T E O F C H I C A G OT H E C L E V E L A N D M U S E U M O F A RTT H E D E T R O I T I N S T I T U T E O F A R TS

    F I E L D M U S E U M O F N A T U R A L H I S T O R Y , C H I C A G OF OG G AR T M U S E U M , C A M B R I D G EM U S E U M O F F I N E A R T S , B O S T O NP H I L A D E L P H I A M U S E U M OF A RT

    T H E T O L E D O M U S E U M O F A R TT H E U N I V E R S I T Y M U S E U M , 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 N E L S O N G A L L E RY O F A RT ,K A N S A S C I T Y

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    P R E F A C EEVER since the early days of the Republic, Americans havehad 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 asteas and silks and table services. In later years Americans becameincreasingly aware of Chinese art, and in the last decades theyhave been among the foremost amateurs of the ever increasingnu m be r of extremely early bronzes, jades, potteries, and sculptureunearthed from the productive soil of China, and their collectionshave become as rich as those anywhere else in the world.

    T he present exhibition in the Metropolitan M useum is limitedto but one phase of the art of ancientChinaits bronzesand isdrawn from but one sourceAmerican collectionsbut thosewho saw the great exhibition of Chinese art in London in 1935will recognize that there are in this country collections comparable to those drawn upon on that occasion from the wholeworld. It includes early ceremonial bronzes from the Shang dynasty through the Han dynasty, mirrors and accessories from theChou through theTang dynasty, and Buddhist bronzes from theSix Dynasties to the early Sung dynasty.

    The assembling of some five hundred bronzes of the highestquality in one exhibition for the benefit of the New York publicand the visitors to the city has been made possible through theunstinted generosity of the private collectors and institutionswhose names will be found on the preceding pages.

    H . E . W I N L O C K , Director

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    CONTENTSpage

    L I S T O F L E N D E R S vP R EF AC E v i iC O N T E N T S i xC H R O N O L O G Y O F C H I N E S E D Y N A S T I E S xiC H I N E S E B R O N Z E S : A N I N T R O D U C T I O N xiiiA N A L Y S IS O F C H A R A C T E R I S T I C S xxiC L A S S I F I C A T I O N O F S H A P E S xxviiC A T A L O G U E O F C H I N E S E B R O N Z E S iC E R E M O N I A L B R O N Z E S I

    S H A N G D Y N A S T Y IE A R L Y C H O U D Y N A S T Y 8M I D D L E C H O U D Y N A S T Y I IL A T E C H O U D Y N A S T Y 14H A N D Y N A S T Y l 8

    M I R R O R S 19B U D D H I S T B R O N Z E S 2 2M I S C E L L A N E O U S B R O N Z E S 2 6A D D E N D A 29

    I L L U S T R A T I O N S 31

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    C H R O N O L O G Y O F C H I N E S E D Y N A S T I E SHsia 2205-1766 B.CS h a n g (Shang-Yino r Y i n ) 1766-1122C h o u 1122- 249

    Early (W estern) Chou (Yin-Chou) . . . . 1122-947M iddle (W estern ) Ch ou 946-abt. 770Late (Eastern) Chou 770-256(''Periodof the Spring and Au tumn An nals 722-481)

    ( Period of the W arr ing States . . abt.481-221)( H u ai 770-206)C h ' i n 221-206H a n 206 B.C .-A.D . 220

    W estern H an (former, or Hsien H an ) . 206 B.C. -A.D. 25(Hsin Dynasty A.D. 8-23)Eastern H an (later, or H ou H an ) . . . .A.D. 25-220Six Dyn as t ies 222-589

    (A name referring to the dynasties which had their capitalson the site of the presen tNankingTungW u, Eastern C hin,Sung, Ch'i , Liang, and Ch'en.)T h r e e K i n g d o m s 2 2 0 -2 8 0

    W ei 220-265Shu Han 221-263TungWu 222-280C h in ( W e s t e rn C hin a nd E as te rn C h i n ) . . . . 265-420Nor the rn and Sou the rn Dynas t i e s 386-589

    Northern Dynasties 386-581N orth ern W ei 386-557(including W estern W ei . . . . 535-557)xi

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    C H R O N O L O G Y O F C H I N E S E D Y N A S T I E SEastern Wei 534 55o

    (absorbed by Northern Ch'i)Northern Ch ' i 55-577(absorbed by Northern Chou)Northern Chou 557~58iSouthern Dynasties 420-589Sung (Liu) 420-479Southern C h'i 479-502

    Liang 502-557Ch'en 557-589

    S u i 589-618T'ang 618-906Five Dy nas t ies 907-96 0

    Liang 907 923T 'ang 923-936Chin 936-946H an 947-950Chou 951-960S u n g 960-1279

    Northern Sung 960-1127Southern Sung 1127-1279Liao 907-1125(Western Liao 1125-1211)Chin (Nu-chen) 1115-1234Hsi Hsia (Western Hsia) 1032-1223

    Yuan 1280-1368M i n g 1368-1644C h ' i n g 1644-1912Republ ic 1912-

    xi i

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    C H I N E S E B R O N Z E SA N I N T R O D U C T I O NT H E exhibition of Chinese bronzes presented by the Metropolitan M useum has grow n into som ething extraordinary.It was planned to show three phases of Chinese bronze-workearly ceremonial vessels (from Shang through Han), mirrors (from Late Chou through T'ang), and Buddhist images

    (from the Six Dynasties to the beginning ofSung)and to limitthe exhibition to examples in American collections. We expectedto have an excellent representation, but so generous was the response and so great the interest that it has turned into what is themost exciting and dazzling display of Chinese bronzes (particularly the early ceremonial bronzes) ever to have been broughttogether. The result is amazement. The fisherman who opened awater bottle and released a djinn can hardly have been morestunned. Any one of these bronzes has inherent in its shape anddesign something of the people who made it and something ofthe religion and the beliefs that inspired it. The mass of thembrought together accumulates so much power and compressedenergy that it is almost terrifyingone almost expects to hear aroar or to see the thing explode.We are beginning to know something of the Shang people andtheir religion from the discoveries at An Yang, 1 particularly the

    oracle bones and the bronzes. The religion seems to have beenbased 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 thebronzesthese nightmare, threatening monster heads, these twisted, unreal beaststreading 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 inthese bronzes, and there is tremendous strength and control. To1 H. G. Creel, The Birth of China: a Study of the Forma tive Period ofChinese Civilization (New York, [1937]), and Studies in Early Chinese Cul-ture (Baltimore, 1937), first series.

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    C H I N E S E B R O N Z E Ste l l t he t ru th , t hough , we don ' t know ve ry much abou t t hem. Forthe most part they are sacrificial vessels made for ceremonies,somet imes in honor of dead ances tors , somet imes to commemorate an event . Fol lowing the ideas of the Chinese we cal l themfood vessels, heating vessels, wine vessels, and so forth, and try todisentangle their uses f rom the classics; but the Book of Ri tesi tsel f was compiled a thousand years and more af ter these thingswere first in usecompiled when ques t ions of procedure werea l ready m ud dle d an d un cer ta in . W e can read wh at is w r i t t en inmany of them; and we begin to unders tand the symbol i sm, theassocia t ion of dragons wi th l i fe -br inging ra in , the meanderthunder , the f i sh , the b i rds , the ram, and the moon. This wi l l bea l l unraveled before we are through, but in the meant ime wecannot be blind to the reali ty of the terrors of natural forces to thepeople who made these vessels . Echoes of i t appear in our l i fetodaydo we not speak of a f lood, an ear thquake, a t idal waveas an act of G o d ?

    Dr . Bernhard Kar lgren ' s ana lys i s of Chinese bronzes i s bothbri l l iant and useful . I t i s an excel lent working basis and at themoment very popular , especia l ly in Amer ica . I t does not pre tendto be complete and l ike almost everything else that seems to bethe f inal word invi tes contradict ion. But this is the way by whichwe gradual ly approach the t ru th , and i t i s so handy tha t we givea digest of i t with a very few suggestions. 2 By s tudying the inscr ipt ions and then looking at the bronzes for points of s imilar i ty,Karlgren has given a l ively jol t to the commonly accepted chronology of Chinese bronzes . The excavat ions a t An Yang openedthe way for da t ing a l a rge group of bronzes Shang, and Kar lgrenhas gone far ther and sugges ted a d iv iding l ine about 950 B.C. forE a r l y C h o u (Yin-Chou) a nd M idd le C ho u. I t is ha rd for some ofus to bel ieve that al l that br i l l iant technique was swept away andlost completely about that t ime, but i t i s an enormous help to haveso large a body of bronzes emerge as def ini tely Middle Chou. Forthe per iod covering the last par t of Chou and C h ' i n , the te rm

    H u a i is very seductivetoo seductiveand it is easy to say andremember. Appl ied f i rs t to a dis t inct s tyle of bronze found in the2See page xxi. xiv

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    A N I N T R O D U C T I O NHuai Valley, it is used to cover the whole country for a long period. The time will come and seems fast approaching when weshall be able to say sixth century, fourth century, and so on, but,except in a few instances, we cannot yet. In this catalogue wehave applied the old dynastic names to Karlgren's analysis andput his in parenthesis. The late Kingsley Porter used to say, Publish as fast as you can because any archaeological work is out ofdate and gone in fifteen years. H is ow n books give the lie tothis,but there is som ething in the idea. Certainly C hinese archaeology goes on like a whirligig, and very exciting it is if only weremember that we are in the midst of disentangling the tangledand half-forgotten web of early Chinese civilization and do notthink happily, as we are wont to do on leaving school, that thetask is done. It's not done by any means; but in the last twentyyears and even in the last ten such landmarks as An Yang,Ch'angSha, and the Huai Valley have been classified, and they give usimportant and steady beacons.

    One of the most troubling things about the chronology ofChinese bronzes is that the earliest ones we can be sure of are themost 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 saidthis is the beginning. The things we call Shang (or Yin) are thehighest peak of a phase of culture, and we have not yet sortedout or established the forerunners; and such technical castingof bronze, to say nothing of the designs, presupposes a longdevelopment.

    Karlgren chooses thirty-eight elements as distinctively Shangand purposely omits some of the obvious and unusual ones, suchas elephants. His dragon types are arbitrary and do not includeall the variants. In g roup ing the bronzes in our catalogue w e havetried to bring together examples which have many similaritiesof style. The first group is simple enough. It includes all thosew ith th e accepted elements done in a sunk-relief techn ique , whichwas perhaps always intended to be used with inlay. The secondgroup includes those in which the designs are in low relief withlittle or no chance for inlay. Despite the evidence of inscriptions,xv

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    C H I N E S E B R O N Z E Sat first sight it is hard to see this group as early. The modelingmay have worn down in the course of time; but even so the outlines have more the look of something that has been repeated sooften that it is easy and even carelessalmost a paraphrase of thecrisp and vigorous standard type.The finest type of Shang bronze is vibrant and electric in itsexecution. The very shapes of the bronzes are young and alive.O ne can almost see them gro w , as one sees seemingly static spearsof young bamboo and knows that even in the afternoon they willbe taller and stronger. The intricate design and varied animalsand 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 masksand animals in relief come more boldlyouta bit like championboxers.There is no clear dividing line between the Shang and EarlyChou.But there is a tremendous change in Middle Chou. Karlgrenpicks 950 B.C and would have us put the great mass of bronzeswith certain characteristics prior to that date and gather togethera 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 believethat the brilliant technique of Early Chou could have been entirely discarded soabruptlyit is conceivable but ha rd to believe.One suggestion that the present exhibition gives us is that possibly the bronze makers kept the decoration on the bodies of theirvessels simple and developed the animal motives into free-standing figures, to be used either as tops, legs, han dles, or as comp letethings in themselves. Such a figure as Mr. Pillsbury's recliningbuffalo (No. 146, ill.), for instance, is decorated with the samekind of drawing as one of the Metropolitan's bronzes (No. 141,ill.), which is distinctly Middle Chou, and his chimeras havescales identical with the scale bands of Middle Chou. And these

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    A N I N T R O D U C T I O Nanimals are top-notch things. Is it not possible that we must expand and add to Karlgren's presentation of Middle Chou until itfits into the whole history, not so m uch as a complete break w ithtradition 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 andthemesif, in fact, anything so modified can properly be called a revival. Ancient shapes and ancientsymbols have been brought into play again but treated in a totallynew manner. The late Chou people were very sophisticated, veryrefined, superexpert in technique, and beset with a maddeninglynervous high-strung energy. These almost embroideries of goldand silver,3 these endless volutes and interlacings, these twistedacrobaticlionsthey teem with febrile vigor and have somethingof the precision of tightrope walking or the flying trapeze. Thismode of expression, which appears in the late Chou dynasty, progresses without a hitch to the Han dynasty. All the things weused to call Ch'in and many we called Han are now called LateChou ( Period of the Spring and A utu m n An nals or Periodofthe W arrin g Sta tes or H u ai ) . For the mom ent the Ch ' in dynasty is relegated to limbo, as far as bronzes are concerned, andwhen it reappears will have quite a new definition. It is a littlesurprising that when our chief association with Ch'in is Ch'inShih Huang Ti (who attempted to destroy the past and beginall history with himself) we should still have ascribed so muchin the way of a brilliant style to that period. It may well turn outthat the Ch'in period did deal a telling blow to the developmentof Chinese art.

    In any case, the present allocation of bronzes gives us a verydifferent picture of the Hans from that to which we are accustomed. If they are to be shorn of all these intricate and frostlikepatterns, they are going to appear as wholesome and vigorous an da little literal and unimaginative if not quite stodgy. The LateChou geometric patterns are there, but they are well sobered up;and the supernatural monsters of the Chou periodthey have3T.G. Andersson, Th e Goldsmith in Ancient Ch ina, The Museum ofFar Eastern Antiquities, Stockholm, Bulletin N o. 7 (1935).

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    C H I N E S E B R O N Z E Sbeen clipped of their lightning and their fire, domesticated andtamed. The Han acrobats stay on the ground; and the Han animals ,even the legendary ones, are much more realistic than theirpredecessors. They are husky and strong and often have humor,but they are far from the star-blooded creatures that roamedthrough the Chou heavens. These weregonegone forever, savefor once, wh en m illennium s later a solitary jabberwock w itheyes of flame, came whiffling through the tulgey wood andburbled as it came.

    This presentation of ceremonial bronzes ends with the Handynasty. It could have continued profitably (and there are a fewexamples later than H a n ) to show how in the T 'an g dynasty theybecame merely elegant and refined accessories, touched with themagnificence of the period. We might have shown the archaeological revival of the Sung and laterperiodsit would have beeninstructive and deadly dull.

    The only type of bronze which began in the Chou dynastyand continued in practical use and so was treated with interestby succeeding generations was that symbol ofvanitythe mirror.The earliest mirrors we know about are those of the late Choudynasty, and in them all the characteristics of the period appear'a t their best. Bronze mirrors went on being fashionable all theway down to the Ming dynasty, until, in fact, glass mirrors became handy. We show them through the height of T'ang; andthere, again because the quality falls off, we leave them. Thesemirrors are enchanting things and record quite a different phaseof their m akers from the heroic bronzes. Sometimes they instruct,sometimes they remind one a little of the great forces that molda race; but for the most part the interest is in pure ornament anddesign. The earliest ones are Late Chou, and they are patternedwith the same kind of interlacery as the ceremonial bronzes buttreated in a lighter mood. In the Han dynasty more animals andpeople appear. By the T'ang dynasty lavish decoration and highrelief are very common, especially in the so-called Bactrian style,but alongside them we find such delicate and restrained fanciesas Mrs. Holmes's mirror with lacquer decoration and gold inlay( N o . 245, i l l ) .

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    A N I N T R O D U C T I O NSo different is the tale w rit t en in the Bud dh ist bronz es t ha t

    i t is hard to believe that they have anything to do with the samecul tura l s t ream tha t produced the blood-and-thunder ceremonia lvessels . W e are wo nt to speak com placently of the C hinese as apeople who have preserved their tradit ions for three thousandyears and moreand so they did, some of them in a tenacious,somewhat muddled way. But when we look c lose ly in to the ir h is tory, we find that they were constantly being overrun with invading races and quite often going in for innovations with anabandoned thoroughness wi thout cas t ing off t rad i t ions en t i re ly .Buddhism is reported in China as early as the f irst century A.D.;but i t was not unti l the f if th century that i t made any great headway, and it is a fine bit of irony that this gentlest of religionsshould have been propagated by the war l ike Toba Weis and tha tmore than one great temple was dedicated in honor of a victoryof arms. However i t came, i t swept the country l ike a t idal waveand f rom the f i f th century unt i l the four teenth an enormousamount of the country 's creative genius was devoted to i ts service.B udd hism persis ts today ; but i t s nobles t tem pora l manifes ta t ionsreached a he ight in the T 'ang dynasty , f rom which they havebeen gent ly desce nding ever since . T he th ings w hich w e show inthis exhibit ion are from the great period of Buddhist creation inChinathe per iod cover ing the Wei , Sui , and T 'ang dynast iesand a lovely and gracious assembly they are. The two altarpieceswhich were among the great glories of the Chinese exhibit ion inLondon are here, and they are surrounded by single pieces fromal tar se ts and the grea t Sui Tr in i ty (No. 279 , i l l . ) f rom The Univers i ty Museum, Phi lade lphia .

    A L A N P R I E S T

    XIX

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    A N A L Y S I S O F C H A R A C T E R I S T I C SNew elements60. squat ting ( N o . 168). 61. interlacery (No. 174, ill.). 62.hooks (No. 173). 63. plait. 64. rope. 65. rings on lid (N o .190). 66. war ts (No. 314) . 67. dots (N o . 320 ). 68. spiralcircle (N o . 350 ). 69. H ua i geometrical patterns (Nos . 185,i l l , 186).

    To these criteria there might be many addenda; and following Hentze's hypothesis of moon worship,2 we may graduallylearn what each dragon stood for and give them better names.The monster masks should be split into categoriesthose withstag 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 hasbeen entirely overlooked, in spite of the number of vessels shapedlike owls. But working from these owl vessels, we suddenly findthe owl appearing time after time as a motive in other vessels. Inone or two it is distinct; and recognizing the form, we find manysupposedly free animal heads and central parts (mouth, nose,and forehead) of the monster masks defining by themselves theoutline of a standing owl with wings outspread. What is thisbird? In those ancient times was it already a symbol of nightassociated with the moon? N

    C. Hentze,Mytheset symboles lunaires (Antwerp, 1932).

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    C L A S S I F I C A T I O N O F S H A P E S 1AN. Vessel of un kn ow nfunction,having bulging belly slightlycontracted to a mouth finished with a wide, flat rim. With orwitho ut ears and cover.CHIA. La rge round wine vessel w ith three legs. H an dle atside. Two capped uprights. Sometimes square with four feet.Sometimes covered.CH1AO TOU. Ho useho ld hea ting vessel not am ong classictypes/Characteristic of Han dynasty. One type is shallow pan onthree legs with short pouring lip and long handle usually endingin animal head. Another type resembles a teapot and has a spout,smaller covered mouth, and shorter handle.CH1H. W ine vase w ith belly swelling above base. Ro und oroval in section; sometimes covered. Similar to hu, but usuallyhav ing wide r m ou th and no ears . See ill. p. xxix.CHIO. W ine vessel similar to chueh, but longer and withoutuprights. Distinguished by bilaterally symmetrical pointed ends.Often covered. Intermediate types combine features of chueh andchio. See N o.n , ill.CH1U. For cereals. N um ero us and diversified class. W idemouth, slightly flaring or contracted. Three or four feet, base, orrectangular podium. With or without cover. See ill. p. xxxi andN o . 131, ill. Handles (occasionally lacking) may differ in typeand number from the usual two vertical handles with pendants.Some scholars call the group\uei, an equiva lent term pron ouncedlike chiu in ancient times. In addition, chiu wasmisidentified astu i by Sung dynasty scholars, an error which persisted by usage.

    1 Com piled by Josephine S. Ha dley and H an S hou -hsu an, largely on thebasis of the classifications by W. P. Yetts, The George Eumorfopoulos Collec-tion: Catalogue of the Chinese and Corean Bronzes, Sculpture, Jades, Jewel-lery . . . (Lond on , [19 28]) , vo l . 1, and Jung Keng , Som e Cerem onia lUtensils and Musical Ins truments of the Yin and Chou Dynasties , TheYenching Journal, June, 1927.

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    C L A S S I F I C A T I O N O F S H A P E SCHUEH. W in e cu p. See i l l . p . xxix . V ar ia t ion s are a f la t-bot to m ed type an d a squ are four-legged form. Al ternat ively cal ledchio.FU. L ow , rec tan gu lar vessel for cooke d cereals . Str aig ht , s lanting s ides. Flar ing base, cut away at center of each s ide, or legs.Cover ( somet imes lacking) a lmost exact ly dupl icat ing vesselitself.HO. Covered po t p robab ly fo r wa te r to mix wi th w ine . Th reeor four legs of varying length . Somewhat cont racted mouth.Spo ut on one s ide , ha nd le on oppo s i te s ide . Occas ional ly hasarched handle . Al ternat ively cal led huo.HSIEN. La rge food s teame r of tw o or m ore par ts . U pp er sect ion , which may be s epara te , l i ke s t eaming pan (tseng) w i th orwi thou t pa r t i t i on . Lower r esembles li. Grid may divide sect ions .Tseng som et imes found alone. E a r s on upper or lower par t orboth . Also square wi th four feet . See i l l . p . xxix and No. 59, i l l .Al ternat ively cal led yen.HSU. Fun c t ions as chiu, but des igned for use dur ing expedit ions. Similar to chiu in form, but obla te or , rare ly , rectangular .Prob ably al l ha d cove rs . Fo rm erl y classif ied as \uei.HU. W in e vessel of gre at diversi ty of sha pe . See i l l. p . xxx i .Somet imes r ec tangu la r . See No . 185, i ll . E ar s som et imes inform of t'ao t'ieh masks ho ld ing r ings ./ . W ate r ewe r associa ted w i th p'an. See i l l. p. xxx i . V aria t ion sare three feet or none, animal head for spout , horizontal project ion for handle ./ . G ene ral term for cere m onia l vessels. Also used for unclassif ied sha pes . A house l ike recta ngu lar vessel w i th gab led cover i sone of impor tant nameless forms for which i is used. See Nos. 1,2, ills.KU. Fo r w ine. See i l l. p . xxxi and N o . 53, i ll . N ar ro w or w idebeakers , round or square in sect ion.xxviii

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    Chih C h u eh

    Kuang

    Tsun HsienS H A P E S A N D N A M E S O F C H I N E S E B R O N Z E S

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    C L A S S I F I C A T I O N O F S H A P E SKUANG. Fo r w ine . See ill. p. xxix.LEI. La rge ovoid jar to hold wine or water to pour intosmaller container. Wide shoulder and narrow neck. Much variation and often indistinguishable from p'ou and hu. Generallywider and shorter than hu and with shorter neck. With or without covers and ea rs. Occasionally squ are .LI. Co oking vessel wi th three hollow legs following potteryprototype. Occasionally four legs. W ith or with out ears . Mergesw ith class ting.LIEN. To ilet casket. Fo rm not am ong classic ceremonialtypes, but characteristic of Han dynasty. Majority are cylindricalboxes on three legs. W ith or with out handles and ringed ears .All originally covered.P 'A N. W as hin g basin. Ro und or, occasionally, oval. Base orlegs or, rarely, bo th. Be nt ea rs charac teristic.PING CHIEN and HSI. T w o classes not clearly distinguishable. Also confused with yu and an. Ping chien, supposedlycontainer for ice, more ancient. Typically a round or rectangularbasin with ears , which may hold rings. Base, feet, or pod ium .Hsi perhaps washing vessel. Confused with p'an, but deeper anddoes not have ben t ears . Rests on base, feet, or flat bottom ofbelly.P'OU. Fo r food. Similar tolei, but body more spherical. Basecharacteristically well-defined but sometimes supplanted by feet.Contracted m ou th. W ith or with out cover and ears . See N o. 96,ill.TING. Co oking vessel often chosen to bear im po rtan t inscriptions. Round, square, rectangular, or rectangular withrounded bottom. Three or four legs. With or without cover. Classting merges with class li. Early type probably developing fromneolithic pottery. See ill. p. xxix.TOU. Fo r food. See ill. p . xxxi. Also shal low , coverless form .

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    Tou

    ChiuS H A P E S A N D N A M E S O F C H I N E S E B R O N Z E S

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    C L A S S I F I C A T I O N O F S H A P E STSUN. Fo r w ine . N am e used as general term for ceremonialwine vessels, and usually applied to types unassignable to one ofthe specific classes. Large and wide types of \u and chih oftencatalogued astsun. Term here restricted to wine vessels based onanim al forms. See ill. p. xxix and N os. 68-7 0, 90, ills.YU. Fo r millet w ine . See ill. p . xxxi and N os . 3, 5, 8, ills.YU. Prob ably for food. Ch aracteristically a deep basin w ithears and flaring mo uth . O ne type has base and ben t ear s ;another vertical loop handles and no base. Occasionally handleslacking. Not a common form, but resembles an, ping chien, andhsi.See No. 94, ill.

    B E L L SBells were used with drums as accompaniment to rituals as wellas in military activities and daily life.CHENG. Fu ncti on chiefly m ilitary. H an dl e hollow, decorated surface, no bosses. Wider proportions than chung. See No.10,ill. Alternative ly called cho.CHUNG. Clapperless, suspend ed, characterized by thirty-sixbosses. Favorite bearers of inscriptions. One type, sometimes classified aspo,has elaborate loop instead of h and le. See N o. 174,ill.TO. All clapper bells. M any types. Co m m on form long andnarrow with handles, usually undecorated.TUI. Clapperless, suspend ed, bulges near top of long rou ndbarrel. Anim al usually forms loop on top. Sometimes called ch'un.

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    C A T A L O G U EO F C H I N E S E B R O N Z E S

    C E R E M O N I A L B R O N Z E SSHANG DYNASTYi . C A N I S T E R ( / ' ) . H . n % in . w. 7%6 m- S h a n g . Il lus.Alfred F . Pi l lsbury , courtesy of T h e M innea polis In st i tu te of Arts2. C A N I S T E R (/ ). H . 9 in . w . 7 in . Sh an g. I l lus .M r s .W i l l i a m H . M o o re3. W I N E V E S S E L (yu) w i t h cover, H . 7 % in . w . 5 in . Sha ng .Illus.Alfred F . Pi l lsbury, courtesy of T h e M inneap olis Ins t i tu te of A rts4. V E S S E L (four- legged rectangular ting), H . 1 0 % in . L . 7 % in.w .6% in . Sh an g. Inscr ibed .Mr . and Mrs . lames Marsha l l Plumer5. W I N E V E S S E L (yu). H . 1 2 % in . D I. 4 % in . S han g . I l lus .Museum of F ine Ar ts , Bos ton6. V E S S E L (chio) w i t h cover, H . IO in . w . 9 in . Sh an g.M r s .W i l l i a m H . M o o re7. V E S S E L (yu). H . 7Y2 m- w- 5V4 in . Sha ng .Lent anonymous ly8. V E S S E L (yu). H . 1 0 % in . w. 7 % in . Shang. I l lus .M r s . O t t o H . K a h n9. V E S S E L (yu). Cover miss ing , H .9%6 m- DI- 5 % m- S h a n g .Museum of F ine Ar ts , Bos ton10. B E L L (cheng). H . 1 1 % in . w. 1 1 % in . Shang. I l lus .M r s . Chr is t ian R . Holmes11. W I N E V E S S E L (chio). H . 1 0 % in . w . f rom w in g t ip to t ip7 % in . Sh an g. Inscr ibed . I l lus .M r s . Chr is t ian R . Holmes

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    C E R E M O N I A L B R O N Z E S12. W I N E V E S S E L ( four - legged chio). H . 8% in . w . 6 % in .S h a n g .Alfred F . Pi l lsbury , courtesy of T h e M inneap olis In st i tu te of A rts13. V E S S E L ( th ree- legged round ting), H . S 1 ^ in . D I. 6 % in .S h a n g .Alfred F . Pi l lsbu ry, courtesy of T h e M inneap olis Inst i tu te of A rts14. V E S S E L ( th ree- legged round ting), H . 7 % i n. D I. 6% in.Shang . Insc r ibed .Wil l iam Rockhi l l Ne lson Gal le ry o f Ar t15. V E S S E L ( th ree- legged round ting), H . 8% in . D I. 6 in.S h a n g .Ho ra t io S e y mo u r R u b e n s16. V E S S E L ( four - legged rec tangula r ting), H .6 % i n . w . 5 % i n .S h a n g .The Ar t Ins t i tu te o f Chicago17 . W I N E C U P (chih). H . 4 % i n . w . 5 % in . Shan g . Insc r ibed .L e n t a n o n y mo u s ly18. V E S S E L ( th ree- legged ting), H . 6 in . D I. 5 % in . Shang .Mrs . W i l l i a m H . M o o re19. V E S S E L ( th ree- legged round ting), H . 5 % i n . D I.5%6 in.Shang . Insc r ibed .Wil l iam Rockhi l l Ne lson Gal le ry o f Ar t20. V E S S E L ( th ree- legged ting), H . 9 % 6 in . w . 7 % in . Sha ng .L e n t a n o n y mo u s ly21. F I T T I N G S F O R C H A R I O T (8 9 ) . S han g or Ear ly Ch ou . I l lus .Wil l iam Rockhi l l Ne lson Gal le ry o f Ar t22. P A I R O F M O N S T E R M A S K S , H . I % in . Shang .M r s . C h a u n c e y H a m l i n23. P A I R O F F L A T P L A Q U E S in shape of birds, H . 3 % i n .L. 7 % in . S h a n g .Mrs . C h r i s t i a n R . Ho lme s

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    S H A N G D Y N A S T Y24. V E S S E L ( four - legged rec tangula r ting), H . 10%- in .w .71 % 6 i n . Shang . Insc r ibed .Alfred F . Pi l lsbury , courtesy of T h e M innea polis Ins t i tu te of A rts25 . V E S S E L (lei) w i t h cover, H . 22 in . Sh an g .Owe n R o b e r t s26. W I N E V E S S E L (lei) w i t h cover, H . i 41 / 4 e in . w. 8 % in .Shang . Insc r ibed .Alfred F . Pi l lsbu ry, courtesy of T h e M inne apo lis Inst i tu te of A rts27. F O O D V E S S E L (chiu). H . 5 % in . w . 1 1 % in . Shang .Alfred F . Pi l lsbu ry, courtesy of T h e M innea polis Ins t i tu te of A rts28 . V E S S E L ( th ree- legged ting), H . I 2 % 6 in . D I.a t top I O % Q in .Shang.Ho ra t io S e y mo u r R u b e n s29. L I B A T I O N c u p (chueh). H . 7 % in . w .6% in . Sh ang .T h o m a s J . W a t s o n30. V E S S E L ( th ree- legged chia). H . io%e in . D I .7%6 in -E a r ly ( ? ) S h a n g .Ho ra t io S e y mo u r R u b e n s31. W I N E V E S S E L (chih) w i t h cover, H . 8% in . D I. 4 % in.Shang . Insc r ibed .Ho ra t io S e y mo u r R u b e n s32. W I N E V E S S E L (chio). H . 5x%6 in . D I. 4 % in . Sh ang .Ho ra t io S e y mo u r R u b e n s33 . V E S S E L (four- legged ting), H . 7 in . L. 5 % in . w . 4 % i n .Shang . Insc r ibed .Ho ra t io S e y mo u r R u b e n s34. F O O D V E S S E L (chiu). H . 5 % 6 in . w. 1 0 % in . Sh ang .Ho ra t io S e y mo u r R u b e n s35. C A U L D R O N (yu). H . 1 4 % in . D I . 19 in . Sh ang .T h e Me t ro p o l i t a n Mu se u m o f Ar t

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    C E R E M O N I A L B R O N Z E S36. F O O D V E S S E L (p'ou). H . 9 % i n . D I. n in . Shang .T h e Me t ro p o l i t a n Mu se u m o f Ar t37. J A R(p'ou). H .61%6 in . DI. a t shou lder 1 0 % in . Sh ang .F ie ld Mu se u m o f Na tu ra l H i s to ry38. F O O D V E S S E L (p'ou). H . 9 % i n . D I . 1 4 % in . Sh ang .Mrs . Chr is t ian R . Holmes39. F O O D V E S S E L (p'ou). H . 15 in . w . 18 in . Sha ng .Owe n R o b e r t s40. W I N E B E A K E R (\u). H . 7 % i n . D I . 6 % in . S h a n g .Inscr ibed.L e n t a n o n y mo u s ly41 . F O O D V E S S E L (chiu). H . 6 in . w . 12 in . S ha ng . Inscr ibe d.T h e Me t ro p o l i t a n Mu se u m o f Ar t42. L I B A T I O N C U P (chueh). H . 8% in . w . 7 % in . Sh ang .L e n t a n o n y mo u s ly43. L I B A T I O N C U P (chueh). H . 8% in . w . 7 in . Shang .Henry K. Schoch44. W I N E C U P (chih). H . 5 % in . w . 4 % in . Sh an g or EarlyChou . Insc r ibed .L e n t a n o n y mo u s ly45. F O O D V E S S E L (chiu). H . 6 % i n . w . 12in . Sh ang .L e n t a n o n y mo u s ly46. L I B A T I O N c u p (chueh). H . 13in . Sh an g. Ins cr ibed . I l lu s .Mr . a n d Mrs . Edsel B. Ford47 . W I N E V E S S E L (chid) w i th l id . H . 1 3 % in . w . 8% in .S h a n g .Wil l iam Rockhi l l Ne lson Gal le ry o f Ar t48 . L I B A T I O N c u p (chueh). H . Sy2 in . w . 7 in . Sh an g.Inscr ibed.Mrs . Chr is t ian R . Holmes

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    S H A N G D Y N A S T Y49. DAGGER, L .9%6 in . w . 2 % 6 in . Sha ng .Alfred F . Pi l lsbury, courtesy of T h e M inneap olis Inst i tu te of Ar ts50. DAGGER, L. n % in . Shang .M r s . Da g n y C a r t e r51 . DAGGER, L . 1 5 % in . Sha ng .The Cleve land Museum of Ar t52. A X H E A D . L . S1 ^ ^ in . w.5%6 in . Sh ang .The Cleve land Museum of Ar t53 . W I N E B E A K E R (\u). H . 1 1 % in . D I.9 in . S ha ng . Inscr ibe d.I l lus.M r s . Chr is t ian R . Holmes5 4 . W I N E V E S S E L (yu) w i t hcover, H . IO in . w . 7 % in . Sha ng .Alfred F . Pi l lsbury, courtesy of T h e M inneap olis In st i tu te of Arts55. W I N E V E S S E L (chih). H . 5 % i n . w . 3 % in . S han g .Alfred F . Pi l lsbury , courtesy of T h e M inneap olis Inst i t u te of Arts56. F O O D V E S S E L (chiu). H . 1 1 % in . w . 1 3 % in . Shang .Alfred F . Pi l lsbury, courtesy of Th e M inneap olis Inst i tu te of Arts57. F O O D V E S S E L (chiu). H . 6%g in . w . 1 1 % in . Shang .Inscr ibed.M r s . Chr is t ian R . Holmes58. W I N E B E A K E R (^u). H . I I in . D I . 9 in . Sh an g.Owen Rober t s59 . H E A T I N G V E S S E L (hsien). H . 1 4 % in . D I.9%e in . Sh ang .Illus.Ho ra t io S e y mo u r R u b e n s60. V E S S E L (yu) w i t h cover, u. 6 in . L . 6 % in . w . 4 % in .S h a n g .Alfred F . Pi l lsbury, courtesy of T h e M inneap olis In st i tu te of A rts61 . V E S S E L (yu) w i t h cover, H . 9 in . Sh an g.Mr . a n d Mrs .I . H. R . C ro mwe l l

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    C E R E M O N I A L B R O N Z E S62. W I N E B E A K E R (\u). H . 12 in . D I.6% in . Sha ng .Pau l Crava th63 . W I N E B E A K E R (\u). H . 12 in . D I.6% in . Shang .Pau l Crava th64. W I N E B E A K E R (\u). H . n % in . D I.6%6 in . Sha ng .Alfred F . Pi l lsbury , cour tesy of T h e M inneapo l is Ins t i tu te of Arts65. W I N E B E A K E R (\u). H . 12 in . D I.6% in . Sh ang .The Honorab le and Mrs . Rober t Woods Bl i s s66. W I N E B E A K E R (\u). H . 1 2 % in . D I.7%6 in . Sh a n g .Inscr ibed .Mrs . Chr i s t i an R . Ho lmes67. W I N E B E A K E R (\U). H . 1 3 % in . D I. 8 in . Shang .Inscr ibed .Wi l l i am Rockh i l l Ne lson Ga l le ry o f Ar t68. W I N E V E S S E L (tsun) in form of ow l. H . 6% in . Sh ang .Inscr ibed .Mrs . Chr i s t i an R . Ho lmes69. W I N E V E S S E L (tsun) in form of ow l. H . 5 % i n . Sh a n g .M r s . C . Suydam C u t t i n g70. W I N E V E S S E L (tsun) in form of ow l. H . 16 in . Sha ng .Il lus.The Honorab le and Mrs . Rober t Woods Bl i s s71 . T W O O R N A M E N T S pairs of rabbi ts , L .6% in .and 5 % in.Sh a n g .Mrs . Dagny Car te r72. P O L E S O C K E T , H . 8 % in . w .41%6 in - Sh ang o r Ea r lyC h o u .Alfred F . Pi l lsbury , cour tesy of Th e M inneapo l is Ins t i tu t e of A rts73. V E S S E L ( th ree - legged round ting), H . 6 % in . w .5%6 m-Sh a n g .Alfred F . Pi l lsbury , cour tesy of Th e M inneapo l is Ins t i tu t e of Arts

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    S H A N G D Y N A S T Y74. A X H E A D . L . 7 in. w . at bo t tom of blad e 4 % in . S ha ng .M r s . Da gny Car t e r75. A X H E A D . L . 6 i n . w . ( g r ea t e s t ) 3 % i n . Sh ang .M r s . Chr i s t i an R . Ho l mes76. L A D L E , L . 8 in . Sh an g.Mrs . Chr i s t i an R. Holmes77. P A I R O F O R N A M E N T Sbuffalo hea ds , H . 3 % in . w. 21 : % 6i n . Sh ang o r Ea r l y Cho u .Alf red F . Pi l l sbury , cour tesy of T h e M inne apo l is Ins t i tute of A r ts78. L A D L E , L . 8% in . Sh an g.Alf red F . Pi l l sbu ry, cour tesy of T h e M inne apo l is Ins t i tute of Ar ts79. W I N E V E S S E L (yu) wi t h han d l e and cover, H . i 2 % 6 in.w . 5 % i n . S han g .Alf red F . Pi l l sbury , cour tesy of T h e M innea pol is In s t i tute of A r ts80. AX O R K N I F E B L A D E , L .8%g in . w . 4 in . Sh an g.Alf red F . Pi l l sbu ry, cour tesy of T h e M innea pol is Ins t i tu te of A r ts8 1 . W I N E V E S S E L (chia). H . 10 in . Sh an g. Inscr ibed .M r s . Chr i s t i an R . Ho l mes82. V E S S E L (//'). H . 5 in . Sh an g.Mr s . Chr i s t i an R . Ho l mes83. L A D L E , L . 1 3 % in . Sh an g.Mrs . Chr i s t i an R. Holmes84. W I N E C U P (chih). H . 5 in . Sh an g.M r s . C h a u n c e y H a m l i n85. D A G G E R wi t h j ade b l ade , L . I O % i n . w . 2 % i n . Sh an g .Alf red F . Pi l l sbu ry, cour tesy of T h e M inne apo l is Ins t i tute of Ar ts86. K N I F E , L . 10 in . Sh an g.Mrs . Chr i s t i an R. Holmes87. K N I F E , L . i o 1 % 6 i n . S h a n g .M r s . Chr i s t i an R. Holmes

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    C E R E M O N I A L B R O N Z E SEARLY CHOU DYNASTY88. S E T O F S A C R I F I C I A L V E S S E L S . A n assemb lage of bron zesof the Shang and Chou dynas t ies supposedly found together .Fo rm er ly in the col lect ion of T u a n Fa n g. I l lus .Vessel (ho), H . 1 1 % in. w . 9 in. W in e vessel (chia). H . 1 2 %i n . w. 1 0 % i n . W i n e c u p (chio). H . 7 % i n . w . 5 % i n .Ea r l y ( ? ) Shang .W i n e c u p (chih). H . 5 i n . W i ne cup (chih). H .5 % in . W inec u p (chih) H .5 % in . W i ne beake r (k.u)> H .8% in . DI. 5 in.S h a n g .T a b l e , H . 7 % i n . L . 3 5 % i n . w . 1 8 % in. W in e vessel (chih).H- 5 % in . W in e vessel (yu). H . 1 8 % in. W in e vessel (yu).H. wi th s t and 1 8 % in. w . 9 in. Lib at ion cu p (chueh). H . 9 % i n .Wine vessel (\u). H .1 3 % in . L a d le , L. 8 in. Ear ly C ho u.Six spoo ns, L. of each 1 2 % in . M iddle Ch ou . These we redivorced f rom the set immediately af ter i t was purchased.The Met r opo l i t an Mus eum of Ar t89. V E S S E L (yu) wi th cover and han dle , H . i31Vi6 in.w . 1 1 % in. Ear ly C ho u. I l lus .Museum of F ine Ar t s , Bos ton90. W I N E V E S S E L (tsun) in form of buffalo, H . 6% in.L.8% in. Ear ly C ho u or Sh an g. I l lus .F o g g A r t M u s e u m91. W I N E V E S S E L (tsun) in form of ow l. H . 9 in. Ear ly C ho u.Illus.M r s .W i l li am H . M oor e92. V E S S E L (yu). Pa r t of cover m iss ing, H . 9 % i n . w . 8%6 in.Ear l y Chou .Wi l l i am J . Cox93. W I N E B E A K E R (\u). H . 7 % in . D I. 7 in . Ear ly C hou .Inscr ibed.The Uni ve r s i t y Mus eum, Ph i l ade l ph i a

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    E A RL Y C H O U D Y N A S T Y94. V E S S E L (yu). H . 1 1 % in . D I. 1 6 % in . Early C ho u. I l lus .Inscr ibed.T h e T o le d o Mu se u m o f Ar t95. V E S S E L (yu) w i th cover and hand le , H . 1 4 % 6 in. w . 9 in .E a r ly C h o u .Museum of F ine Ar ts , Bos ton96. F O O D V E S S E L (p'ou) w i t h cover, H . 2 1 % in . D I . 1 9 % in .Ear ly Ch ou . Insc r ibed . D a ted the 3d year of C hu ng W an g(1115-1077 B . C ) . Illus.T h e Me t ro p o l i t a n Mu se u m o f Ar t97. F O O D V E S S E L (p'ou) wi th cover, H . 18 in . Ear ly C ho u .T h e Un iv e r s i t y Mu se u m, P h i l a d e lp h ia98. W I N E B E A K E R (I(u). H . 9 % in . Ear ly Ch ou or possib lyShang.The Cleve land Museum of Ar t99 . W I N E B E A K E R (\u). H .81 % 6 i n . D I.8 %6 i n . Ear ly Ch ou .Alfred F . Pi l lsbury, courtesy of T h e M inneap olis Inst i tu t e of Arts100. F O O D V E S S E L (chiu) w i t h p o d i u m , H . i o % e in . w . 1 3 %in . Ear ly Ch ou .101. L A D L E , L . 8 % in . E a r ly C h o u . F o u n d wi th chiu N o . 100.Alfred F . Pi l lsbury, courtesy of Th e M inneap olis Inst i tu te of Ar ts102. F O O D V E S S E L (chiu) wi th po d iu m . Sm al l be ll suspend edin sid e p o d iu m , H . 1 2 % in . w . 1 3 % in . La te Sh an g or EarlyC h o u .M r s .W i l l i a m H . M o o re103. W I N E V E S S E L (yu) w i th cover and han dle , H . 1 1 % in .w . 8% in . Ear ly C hou .M r s . Chr is t ian R . Holmes104. W I N E V E S S E L (yu) wi th c ov er (h a n d le m i s s in g ) , H . 9 in.w. 8 in . Early C ho u.IO5. JADE BEADS AND THREE MEDALLIONS of inlaid bronzefound in yu N o . 104.M r s . Chr is t ian R . Holmes

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    C E R E M O N I A L B R O N Z E S106. L I B A T I O N c u p (chio) w i t h cover, H . 7 % i n . L . 7 % i n .Ea r ly Chou .M r s . Chr i s t i an R . Ho lmes107. C A N I S T E R (i). H . 1 0 % in . L . 6 % in . Ea r ly C hou .Mrs . Chr i s t i an R . Ho lmes108. W I N E V E S S E L (\uang). H .8%e in . L . 9 in . Ea r ly Cho u .Il lus.Mrs . Chr i s t i an R . Ho lmes109. W I N E V E S S E L (\uang). H . 7 in . Ear ly C ho u.M r s . Chr i s t i an R . Ho lmesn o . W I N E V E S S E L (yu) wi th cove r and hand le , H . 8 % i n .w . 7 % in . Ea r ly Ch ou .Alfred F . Pi l lsbury , cour tesy of T h e Min neap ol is Ins t i tu te of Artsi n . W I N E V E S S E L (chih) w i t h cover, H . 1 5 % in . w . 1 3 % in.Ea r ly Chou .Owen Rober t s112. V E S S E L ( th ree - legged round ting), H . 8 in . D I. 6 in. Ea rlyC h o u .Wil l iam Rockhi l l Nelson Gal le ry of Art113. F O O D V E S S E L (chiu). H . 5 % i n . D I. 1 0 % in . Ea r ly Chou .Museum o f F ine Ar t s , Bos ton114. F O O D V E S S E L (chiu) w ith cover, four handles , and pod i u m , H . 1 1 % in . w . 9 % in . DI.7%6 in . Ear ly C ho u. I l lus .M r s . C . Suydam C u t t i n g115. F O O D V E S S E L (chiu). H . 5 % i n . w . i o 1 % 6 in . Ear lyC h o u .H o r a t i o Se y m o u r R u b e n s116. F O O D V E S S E L (chiu). H .41 % 6 i n . w . 9 % in . Ea r ly Ch ou .H o r a t i o Se y m o u r R u b e n s117. F O O D V E S S E L (chiu). H . 6 % i n . w . 10in . Ea r ly C hou .Len t anonymous ly

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    E A RL Y C H O U D Y N A S T Y118. T W O B I R D S on cyl indrical bases , H . 9%6 in . a n d 6 % in .E a r ly C h o u . (Nos. 118-120 probably Shang.)Alfred F . Pi l lsbu ry, courtesy of T h e Min nea polis Inst i tu t e of A rts119. B I R D on cyl indrical base . H . 7 % in . E a r ly C h o u .Alfred F . Pi l lsbury , courtesy of T h e Min nea polis Ins t i tu te of Arts120. B I R D . H . 5 % in . E a r ly C h o u . I l l u s .Alfred F . Pi l lsbu ry, courtesy of T h e M inne apo lis Ins t i tu te of Arts121. C H A R I O T K E Y d e c o ra t e d wi th mo n s te r ma sk . H . 4 in.E a r ly C h o u .M r s . C h a u n c e y H a m l i n122. T I G E R ' S H E A D . In la id w i th tu rqu oise , H . 2 % i n .w . (g re a t e s t ) 2 % in . E a r ly C h o u .He n ry K . S c h o c h123. P A I R O F M O N S T E R M A S K S , H . I % in . w . 2 in . Ear lyChou.R a y mo n d A. B id we l l124. P O L E E N D . H u m a n fa ce a n d mo n s te r m a sk o n f ro n t;m o n s te r m a sk a n d a n im a l h e a d o n b a c k . H .5 % i n . w . 4 % i n .Ear ly C ho u . I l lus .Alfred F . Pi l lsbury , courtesy of T h e M inneap olis Inst i tu te of A rts125. F I N I A L . M ons te r m ask on one s ide , h um an face on theother, H . 6 % in . w . 4 % in . E a r ly C h o u . I l lu s .M r s . W i l l i a m H . M o o r e126. W I N E V E S S E L (chih) w i t h cover, H . 10 in . Ear ly Ch ou .Owe n R o b e r t s127. W I N E V E S S E L (chih). H . 9 % in . Ear ly Ch ou . Insc r ibed .T h e Un iv e r s i t y Mu se u m, P h i l a d e lp h iaMIDDLE CHOU DYNASTY128. F O O D V E S S E L (chiu). H . 4 in . D I. 7 % i n . M i d d l e C h o u .Inscr ibed.M r s . C h r i s t i a n R . Ho lme s

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    C E R E M O N I A L B R O N Z E S129. F O O D V E S S E L (hsu). H . n % i n. w . 1 7 % in . M iddleC ho u. Inscr ibed (probab ly 9 th century B.C.).Wi l l i am Rockh i l l Ne lson Ga l le ry o f Ar t130. F O O D V E S S E L (chiu) w i t h cover, H . 9 % i n. w . 1 3 % in.M idd le Ch ou . In sc r ibed .Hora t io Seymour Rubens131. FO O D V E S S E L (chiu). H . 8 % i n . w . 1 2 % in . M iddleC ho u . In sc ribed (8 th -7 th cen tu ry B . C ) . Il lus.M r s .W i l l ia m H . M o o r e132. G O U R D - S H A P E D V E S S E L (hu). H . n % in . Midd le Ch ou .Fie ld Museum o f Na tu ra l His to ry133. W A T E R E W E R ( / ' ) . H . 6 % i n . L . 12 in . M idd le Ch ou .Alfred F. Pi l lsbury , cour tesy of The Minneapol is Ins t i tu te of Arts134. W A T E R E W E R (/*). H . 8% in . L . 1 7 % in . M idd le C hou .The Cleve land Museum o f Ar t135. W A T E R E W E R (/ ) . H . 8 in . w . 1 4 % in . M idd le C hou .Inscribed.Len t anonymous ly136. V E S S E L (//*). H . 5 % i n . D I. 7 % 6 in . M idd le Ch ou .Inscr ibed (ioth cen tu ry B . C ) .Will iam Rockhi l l Nelson Gal le ry of Art137. V E S S E L ( th ree - legged ting), H . 6 % i n . D I .5 % i n . M i d d l eChou. Inscr ibed . I l lus .Hora t io Seymour Rubens138. F O O D V E S S E L (tou). H . 5 % in . D I. 9 % in . M idd le Ch ou .M r s . Chr i s t i an R . Ho lmes139. F O O D V E S S E L (tou). H . 5 % i n . D I. 9 in . M idd le Ch ou .M r s . Wi l l i a m H . Mo o r e140. B E A K E R (\u). H . I I % in . w. 6 in . M iddle C ho u.Wil l iam Rockhi l l Nelson Gal le ry of Art

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    M I D D L E C H O U D Y N A S T Y141. S T E A M I N G V E S S E L (tseng, top of hsien). H . 9 % in .DI. 1 2 % in . M iddle Ch ou . I l lus .T h e Me t ro p o l i t a n Mu se u m o f Ar t142. P A I R O F P L A Q U E S w i n g e d l ions, L . 4 % in . w . 21 % 6 in .Mid d le C h o u .M r s . C h r i s t i a n R . Ho lme s143 . B R I C K - S H A P E D B R O N Z E . H . 8%g m - L. I 5% 6 m -DI- 3 % G in . M iddle Ch ou . I l lus .F i e ld Mu se u m o f Na tu ra l H i s to ry144. P O L E E N D in form of spiral d r a g o n , H . 1 3 % in . w . 9 % in .M iddle Ch ou . I l lus .Wil l iam Rockhi l l Ne lson Gal le ry o f Ar t145. V E S S E L in form of duck. H . 9 % i n. L . 8 in . M idd le Ch ou .Illus.Wil l iam Rockhi l l Ne lson Gal le ry o f Ar t1 4 6 . R E C L I N I N G B U F F A L O . H .41 % 6 m- L.61 % e in- M i d d l eor Early Ch ou . I l lus .Alfred F . Pi l lsbu ry, courtesy of T h e Min neap olis Inst i tu te of A rts147. TIGER, H . 5 % 6 in . L . i o 1 % 6 i n . M iddle Ch ou . I l lus .Alfred F . Pi l lsbury , courtesy of T h e Min neap olis Ins t i tu te of Arts148. P A I R O F F A N T A S T I C A N I M A L S . E a c h : H . 7 in . , L .8%6 in.M iddle Ch ou . I l lus .Alfred F . Pi l lsbury , courtesy of T h e Min neap olis Inst i tu te of Arts149. T H R E E F A N T A S T I C B I R D S . T W O ( e a c h ) : H . 4 % in . , w .5 % in . ; one : H . 3 % in ., w . 5 % in . M iddle C ho u . I l lus.Alfred F . Pi l lsbu ry, courtesy of Th e M innea polis Ins t i tu te of Arts150. P A I R O F F A L C O N S . E a c h : H . 1 % in . , L . 2 1 % 6 in . M iddleChou.Alfred F . Pi l lsbury , courtesy of T h e M innea polis Ins t i tu te of Arts151. P A I R O F H U B C A P S b u f f a l o heads with spira l horns.E a c h : H . 3 % in ., w . 1 i n . M id d le C h o u .R a y mo n d A. B id we l l

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    C E R E M O N I A L B R O N Z E S152. P A I R OF PLAQUEStigers and dee r . Ea ch : H.4 in.,L.6 in. M i d d l e or La t e C ho u .H e n r y K. Schoch153. M O N S T E R M A S K . H. io in. w. 1 2 % in. M i d d l e C h o u .I l lus.Mr s . Da gn y Car t e r154. M O N S T E R M A S K . H.3 % in. w. 4 % in. M i d d l e C h o u .W i l l i a m J. Cox155. PAIR OF HARNESS ORNAMENTS. L. of each : I I % 6 m-M i d d l e or La t e Ch ou .M r s . D a g n y C a r t e r156. P A I R OF H A R N E S S TRAPPINGShorse m a s k s w i t h m o n s ter masks in cen t e r. Eac h : H .8% in., w. 3 % in. M i d d l e C h o u .T h e M e t r o p o l i t a n M u s e u mof Art157. H A R N E S S ORNAMENThorse m a s k . H.7% in. w.3 % in.M i d d l e C h o u .T h e M e t r o p o l i t a n M u s e u mof Art158. K N E E L I N G A N I M A L (hou). H. 3 % in. M i d d l e C h o u .Hor a t i o Seymour Rubens159. V E S S E L ( in c e n se b u r n e r ? ) ,H.8% in. M iddle C ho u. I l lus .M r s . Chr i s t i an R. H o l m e s160. B E L L (tui). H.2 0% in. DI . 1 1 % in. M i dd l e Ch ou .T h e M e t r o p o l i t a n M u s e u mof ArtLATE CHOU DYNASTY161. SET OF F I F T E E N B R O N Z E S recent ly excavated near Ch'angS h a , H u n a n . F o u r l on g -n e c k ed bi rds , H.6%6 in. I l lus . Foursmal l bi rds , H.31%e in . Pa i r of r ing handles decora ted wi thmons t e r mas ks , H. 3 % in. w. 2 % in. P a i rof chariot axle capswi t h p i ns . L. 2 % in. DI.(out s ide rim) 2 % in. L. of pins2iyiQ in. C o v e rof r i tual vessel, DI.4%6 in . L a t e C h o u (Ch'uSt a t e ) .J ohn Had l ey Cox, cour tesy of Gal l ery of Fine Ar t s , Yale Uni versity

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    L A T E C H O U D Y N A S T Y162. P A I R O F D O OR H A N D L E S decora ted wi th double mons term a s k s , DI. of r ings 4 in. H . of m asks 4 % in. , w . 3 % in. La teChou.Wil l i am J . Cox163. H E A T I N G V E S S E L (chiao tou). H . 7 % in . L . 1 1 % in.La t e Chou .Hor a t i o Seymour Rubens164. F I N I A L in shape of crane 's head. H . 7 % in . La t e Ch ou .I l lus .Wil l i am Rockhi l l Nel son Gal l ery of Ar t165. F O O D V E S S E L (tou) wi t h cover, H . 1 0 % in . D I. 9 % i n .La t e Chou .The Met r opo l i t an Mus eum of Ar t166. W I N E B O T T L E (hu). H . 1 2 % in . w. i 2 % 6 in . Late Chou.Fie ld Museum of Natura l His tory167. C O V E R E D V E S S E L (ting). H. 9 % in . D I. 1 0 % in. La teC h o u .Raymond A . B i dwe l l168. V E S S E L ( three- l egged round ting) w i t h cover, H . 1 3 % in.w . 1 9 % in . Late C ho u.M r s . Chr i s t i an R. Holmes169. V E S S E L (yu). H . 7 in . w . 7 % in . Late Ch ou .Len t anonymous l y170. HUB CAP wi th kni fe-bladeornament, L .1 1 % in . DI.3 % i n .La t e Chou .Wil l iam Rockhi l l Nelson Gal lery of Ar t171. B E L L T O P (to), H . 1 6 % in . D I. of handle 4 in . LateC h o u .Char les B.Hoyt, cour tesy of the Fogg Ar t Museum172. W I N E J A R (lei), H . 10 in. w . 1 2 % in . Late Ch ou .Alf red F . Pi l l sbury, cour tesy of Th e M innea pol is In s t i tute of Ar ts

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    C E R E M O N I A L B R O N Z E S173. W I N E J A R (hu). H . 1 1 % i n . w . 9 % in . La te Chou .Alfred F . Pi l lsbury , cour tesy of Th e M inneap ol is Ins t i tu te of Arts174. B E L L (chung). H . 8 in . w . 5 % in . La te C ho u . I l lu s .M r s . Chr i s t i an R . Ho lmes175. W A T E R E W E R (/) . H . 2 in . L . 6 % i n . La t e C h o u .Hora t io Seymour RubensI 7 6 . PAIR OF CHARIOT HUB CAPS wi th p ins . L .3%6 in-DI. 3%6 in* L- of pins 3%6 in - La t e C h o u .M r s . D a g n y C a r t e r177. S T A F F F I N I A L . Gilt-bronze inlaid with copper and si lver.H. 5 % 6 in . La te C ho u. I l lus .The Cleve land Museum o f Ar t178. P A I R O F T A B L E L E G S b e a r s . Inla id w ith gold an d silver.H. of each : 5 in . Late C ho u.Wil l iam Rockhi l l Nelson Gal le ry of Art179. O V A L V E S S E L with poised frogs at ends. H . 7 % i n .L. 9 % i n . La t e C h o u .M r s . Chr i s t i an R . Ho lmes180. D A G G E R H I L T . Inlaid, L . 5 % i n . w . 1 % i n . La t e C h o u .Alfred F . Pi l lsbury , courtesy of Th e M inneapo l is Ins t i tu te of Ar ts181. H A L B E R D in la id wi th silver, H . 5 % 6 in. w . 8 in. La teChou.Russe l l Tyson, cour tesy of The Art Ins t i tu te of Chicago182. D A G G ER H A N D L E S in la id wi th gold and silver, L . 5 % i n .a n d 4 % i n . La t e C h o u .Alfred F . Pi l lsbury , courtesy of T h e M innea pol is Ins t i tu te of Arts183. P O L E E N D in form of dragon 's head . L . 1 2 % in . La teC h o u .Th e Me t r o p o l i t a n Mu s e u m o f A r t184. W I N E J A R (hu). H . 1 3 % in . D I. 4 % i n . La t e C h o u .Alfred F. Pi l lsbury , cour tesy of The Minneapol is Ins t i tu te of Arts

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    L A T E C H O U D Y N A S T Y185. F O U R - S I D E D W I N E J A R (hu) inlaid w i th mal ach i t e , H .1 4 % in . Body 8 % in . sq . La te C ho u (pr ior to 3d ce ntu ry) .Inscr ibed. I l lus .The Uni ve r s i t y Mus eum, Ph i l ade l ph i a186. W I N E V E S S E L (hu). H . 1 7 % in . D I. 5 % i n. L a t e C h o u .The Met r opo l i t an Mus eum of Ar t187. W I N E V E S S E L (hu) inlaid wi th gold. H . I I in . D I. 3 % i n .Late C ho u. I l lus .The C l eve l and Mus eum of Ar t188. B A S I N (p'an). H . 3 % in . D I. 1 7 % i n . La t e Ch ou . Ma defor the M arq uis of C h' i . Inscr ibed.The Met r opo l i t an Mus eum of Ar t189. D U C K - S H A P E D E W E R (/). H . 5 % i n . L . 1 2 % in . La teC ho u. M ade for the M arqu i s of C h ' i . Inscr ibed .The Met r opo l i t an Mus eum of Ar t190. F O O D B O W L (an) wi t h cover, H . 7 % i n . D I. 9 % i n . La t eC ho u. M ade for the M arqu i s of C h ' i . Inscr ibed .The Met r opo l i t an Mus eum of Ar t191. W I N E V E S S E L (hu) w i t h cover, H . 5 % i n . w . (g r ea t e s t )6 in . Late Ch ou .Wi l l i am Rockhi l l Nel son Gal l ery of Ar t192. J A R(hu) w i t h cover, H . 1 3 % in . DI. 9 in . La te Ch ou .Len t anonymous l y193. T O I L E T B OX (lien), H . 9 in. D I. 9 in. Very late C ho u.M r s . Chr i s t i an R. Holmes194. V E S S E L (an) wi t hcover, H . 6 % i n . D I.6% i n . La t e Chou .The Met r opo l i t an Mus eum of Ar t195. T O I L E T B OX (lien). Gi l t -bronze , H . 7 in . Late C ho u.M r s . Chr i s t i an R. Holmes196. E G G - S H A P E D V E S S E L (an) w i t h cover, H . 7 % in . w . 7 in .La t e Chou .Henry K. Schoch

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    C E R E M O N I A L B R O N Z E S197. V E S S E L (an) w i t hcover, H . 4 % i n . w .8%6 in . La te Chou .Alfred F . Pi l lsbury , cour tesy of T h e M inneapo l is Ins t i tu te of Arts198. K N E E L I N G M A N . H . 9 % in . La te Ch ou (4 th cen tu ry B .Cor ea r l i e r ) .Raymond A. Bidwe l l199. M A N hold ing two smal l jade b irds on poles, H . I I % in .La t e C h o u (4th~3d cen tu ry B . C ) .Museum of F ine Ar t s , Bos ton200. K N I F E wi th cu rved hand le , L . 1 3 % in . La te Chou .Mrs . Chr i s t i an R . Ho lmes201 . F L A T R I N G in la id wi th gold and silver, D I.7%6 in . La t eChou . I l lu s .T h e Ho nora b le and Mr s . Rober t W ood s Blis s202. I C E D I S H (ping chien). H . 3 % i n. L . 7 % i n . w . 3 % i n .La t e C h o u .Th e Me t r o p o l i t a n Mu s e u m o f A r t203. S C A B B A R D M O U N T , L .8%6 in . La te Chou .M r s . Chr i s t i an R . Ho lmesHAN DYNASTY2 0 4 . H I L L CENSER, H . 7 % i n . w . 4 % i n. H a n .Alfred F . Pi l lsbury , cour tesy of T h e Min neapo l is Ins t i tu te of Arts2 0 5 . H I L L CENSER, H . 2 % in . H a n .Fie ld Museum o f Na tu ra l His to ry2 06 . H I L L CENSER, H . 8 1 % 6 i n . H a n .Fie ld Museum o f Na tu ra l His to ry207. H I L L CENSER, H . 9 % in . H a n or ea r li e r.Mrs . Chr i s t i an R . Ho lmes208. B O W L . H . 3 % in . D I. 7 % in . H a n o r l a te r.M r s . Chr i s t i an R . Ho lmes

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    H A N D Y N A S T Y209. B O T T L E ( A ) . H . n % 6 in . H a n or la te r .F ie ld Museum o f Na tu ra l His to ry210. B U L B O U S V E S S E L wi th h igh neck . H . 5 % i n . H a n .Mrs . Chr i s t i an R . Ho lmes211. S M A L L C A G E wi th two rabb i t s. Cag e 4 % in . sq . H a n o rearlier .Mr s . W. Mu r r a y C r a n e212. W A T ER H O L D E R in form of kneel ing ram. H . 4 in.L. 5 % in . Han or ear l ie r .Mr s . Chr i s t i an R . Ho lmes213. C R O U C H I N G T I G E R with traces of gold inlay, H . 2 in.L. 5 % i n . H a n .The Met ropo l i t an Museum o f Ar t214. H O R S E , H . 3 % in . L . 3 % in . H a n ( s ty le o f Hs iao T ' an gShan).The Met ropo l i t an Museum o f Ar t215. H O R S E , H . 2 % i n . H a n ( s t y le of H s i a o T ' a n g S h a n ) .Len t anonymous ly216. H O R N E D A N I M A L , H . 2 % in . H a n o r ea r li e r .Len t anonymous ly217. M O N E Y T R E E . H . 10% i n . H a n .Mr s . Chr i s t i an R . Ho lmes

    M I R R O R S218. DI. 2 1 % 6 in . La te Ch ou . M rs . Ch r i s t i an R . Ho lm es219. DI.31%6 in . L a te Ch ou . M rs . Chr i s t i an R . Ho lme s220. D I.1 15/Q i n . C h ' i n . M r s . C h r i s t i a n R . H o l m e s221. DI. 5 % i n . L a t e C h o u . M r s . C h a u n c e y H a m l i n222. DI . 5 % i n . La t e C h o u . M r s . C h r i s t i a n R . H o l m e s223. DI. 5 % in . La te Ch ou . M rs . Chr i s t i an R . Ho lm es

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    M I R R O R S224. Gi l t -bronze , DI. 5 % i n . R i m %6 in . th ick . A t t r ibu te d to4 th cen tury A.D. Inscr ibed.R a y mo n d A. B id we l l225. DI. 6 % in . R im %6 in . th ick . La te Ch ou .R a y mo n d A. B id we l l226. DI. 1 % in . Rim %2 in . th ick . La te Cho u .R a y mo n d A. B id we l l227. F ra g me n t s o f amirror, DI. 6 in . La te C ho u .M r s . C h a u n c e y H a m l i n228. DI. 3 % in . L a te C h o u . M rs . C h a u n c e y H a m l in229. DI. 4 in . La te Ch ou . H en ry K. Schoch230. DI . 7 % in . L a te C h o u . M rs . C h r i s t i a n R . Ho lm e s231. DI .8% in . La te Ch ou . M rs . Ch r is t ian R . H olm es232. DI. 5 % in . H a n or ea r lie r . Insc r ibed .Mrs . Chr is t ian R . Holmes233. I ron in la id wi th th in go ld p laque , DI. 6 % in . H a n ( e a rly1st centu ry A . D . ) . L e n t a n o n y mo u s ly234. DI. 8 % in . R im %2 in . th ick . H an . Insc r ibed .R a y mo n d A. B id we l l235. Lacquer and s i lve r -app l ique decora t ion , DI. 4 % i n . H a n .T h e Me t ro p o l i t a n Mu se u m o f Ar t236 . F la t go ld p laque mounted on mirror, DI . 8 % in . T ' a n g .Mrs . C h r i s t i a n R . Ho lme s237. Si lver-bronze, DI. 7 % in . S ix Dy nas t ies . Insc r ibed .Mrs . Chr is t ian R . Holmes238. DI . 8 % in . W e i . I n sc r ib e d . H o ra t io S e y mo u r R u b e n s239. D I.1 2 % in . T 'a n g or ear l ier . Inscr ibed .F ie ld Mu se u m o f Na tu ra l H i s to ry

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    M I R R O R S257. 4 % in . sq . T ' an g . M rs . Chr i s t i an R . Ho lm es258. Si lver-bronze , DI.7 % in . T ' an g . M rs . Chr i s t i an R . Ho lmes259. DI. 7 % in . T ' an g . M rs . Chr i s t i an R . Ho lm es260. DI.8%e in . T ' an g . M rs . Chr i s t i an R . Ho lm es

    B U D D H I ST B R O N ZES

    261. S E A TE D S A K Y A M U N I . Gi l t -b ronze , H . 6 % in . W ei ( l a te5 th or ear ly 6 th century) .Wil l iam Rockhi l l Nelson Gal le ry of Art262. SE A T E D B U D D H A . Gi l t -b ronze , H . 4 % in . W ei (5 th cen t u r y ) . Sty le of Yun Kang.Len t anonymous ly263 . S E A T E D B O D H I S A T T V A . H . 4 % in . Wei ( la te 5th c e n t u r y ) .Sty le of Yun Kang.Laurence S ickman264. M A I T R E Y A . Gi l t -b ronze , H . 5 5 % in . W ei . In sc ribed andda ted (A.D. 477) .The Met ropo l i t an Museum o f Ar t265. K N E E L I N G A P S A R A S . Gi l t -b ronze , H . 4 % i n . w .2^4 in.We i ( a b o u t A.D. 500) .Wil l iam Rockhi l l Nelson Gal le ry of Art266. M A I T R E Y A . Gi l t -b ronze , H . 24 in. W ei . Inscribed andda ted (A.D. 536) .The Un ive rs i ty Museum, Ph i lade lph ia267. M A I T R E Y A . Gi l t -b ronze , H . 4 % i n . W e i .Rober t Trea t Pa ine , J r .268. B U D D H I S T A L T A R P I E C E . Gi l t -b ronze , H . 2 3 % i n .w . 8 % in . W ei (6 th cen tu ry ) . I l lu s .M r s . John D. Rockefeller , Jr .

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    B U D D H I S T B R O N Z E S269. B U D D H I S T A L T A R P I E C E . Gi l t -b ronze , H . 3 0 % i n .w . 1 4 % in . W ei . Inscr ibed an d dated (A.D. 52 2) . I l lus .M r s . John D. Rockefeller, Jr .27O. BODHISATTVA WI TH T W O ATTENDANTS. Gi l t -b ron ZCH. w ith pedesta l 8 % in . Sui . Inscr ibed and dated (A.D. 590) .M r s . Chr i s t i an R. Holmes271 . K U A N Y I N . Gi l t -b ronze , H . 9 % i n . W e i .M r s . John D. Rockefeller, Jr .272. G U A R D I A N . Gi l t -b ronze , H . I % in . Wei .Lent anonymous ly273 . L I O N . Gi l t -b ronze , H . 4 % in . w . 2 % in . W e i .M r s . John D. Rockefeller, Jr .274. B U D D H I S T T R I N I T Y . Gi l t -b ronze , H . 8 in . Sui . Inscr ibedand dated (A.D. 611) .M r s . Chr i s t i an R. Holmes275. PRABHUTARATNA A ND SAKYAMUNI EXPOUNDING T H ELAW. Gi l t -b ronze , H . 8 % in. Sui . Inscr ibed and dated (A.D.609) .M r s . Chr i s t i an R. Holmes276. S E A T ED B U D D H A . Gi l t -b ronze , H . 7 %e in . W ei .M r s . Chr i s t i an R. Holmes277. B O D H I S A T T V A . Gi l t -b ronze , H . 5 % in . Sui .Luc ian Guy Blackmer278 . P R I E S T . Gi l t -b ronze , H . 5 % in . Su i .M r s . Chr i s t i an R. Holmes279. B U D D H A A N D T W O B O D H I S A T T V A S . Gi l t -b ronze . Su i .H. of Buddha 1 6 % in., of each bodhisattva 1 3 % in. Closely rela ted s tyl is t ical ly to the Tuan Fang al tar (dated A.D. 594) in theM us eu m of Fin e A rts , Boston. I l lus .The Univers i ty Museum, Phi lade lph ia280. M A I T R E Y A . Gi l t -b ronze , H . 7 % 6 in . Su i (6 th ce n tu ry ) .F ie ld Museum of Natura l His to ry

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    B U D D H I S T B R O N Z E S281. B O D H I S A T T V A ( p r obab l y K ua n Y i n ) . G i l t - b ronze .H . 1 0 % in. Su i .Wi l l i am Rockhi l l Nel son Gal l ery of Ar t282 . S E A T E D B O D H I S A T T V A . Gi l t - b r onze , H .6 in. Sui ( late 6thc e n t u r y ) .Len t anonymous l y283. B O D H I S A T T V A . Gi l t - b r onze , H . 1 9 % i n . Su i ( ? ) . I nd i aninfluence.M r s . John D. Rockefel ler , Jr .284. K U A N Y I N . Gi l t - b r onze , H . 1 7 % in. Sui .The Met r opo l i t an Mus eum of Ar t285. SEATED MAITREYA. H.4 in. Su i .The Met r opo l i t an Mus eum of Ar t286. MAITREYA. H. 5 % in. Sui .Len t anonymous l y287. B O D H I S A T T V A . Gi l t - b r onze , H . 5 % in . Su i .Len t anonymous l y288. B O D H I S A T T V A . Gi l t - b r onze , H . 7 % i n . Su i ( 6 t h ce n t u r y ) .Dr . and Mr s . J ames B . Mur phy289. M O N K ( K a s y a p a ? ) . H . 25% in . S ix Dynas t i es .The Met r opo l i t an Mus eum of Ar t290. S E A T E D B U D D H A . Gi l t - b r onze , H . 8 in . T 'a n g. I l lus .Mrs . Chr i s t i an R. Holmes291. G U A R D I A N . Gi l t - b r onze , H . 3 % i n . E a r ly T ' a n g .M r s . Chr i s t i an R. Holmes292. S E A T E D B O D H I S A T T V A . H . 6 in . T 'an g.Laur ence S i ckman293. K U A N Y I N . Gi l t - b r onze , H . 9 in . T 'an g.M r s . John D. Rockefel ler , Jr .

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    B U D D H I S T B R O N Z E S294. B O D H I S A T T V A . H . 5 % in . T 'an g (s ty le of T ' i e n L u n gS h a n ) .Len t anonymous l y295. G U A R D I A N . Gi l t - b r onze , H . 3 % i n . Ea r l y T ' an g .Len t anonymous l y296. L O T U S . Gi l t -bronze , H . 4 i n . T ' an g .The Met r opo l i t an Mus eum of Ar t297. L I O N P E D E S T A L f o r P ' u H s i e n ( S a m a n t a b h a d r a ) . H . 2 %i n . L . 4 % in . T ' a ng .Len t anonymous l y298. L I O N . Gi l t -bronze , H . 9 % in . T ' a n g .M r s . John D. Rockefel ler , Jr .299. L I O N . Gi l t - b r onze , H . 2 % in . T ' a n g .The Met r opo l i t an Mus eum of Ar t300. K U A N Y I N . Gi l t -bronze , H . 7 % i n . La t e T ' ang .Luc i an Guy B l ackmer301 . S E A T E D B U D D H A . H . 7 i n . w . 4 in . Ear ly T 'a ng .Wil l iam Rockhi l l Nelson Gal lery of Ar t302. B U D D H I S T S E A L . Gi l t - b r onze , L . 3 % i n. w . 2 1 % 6 in.Ea r l y T ' ang .M r s . Chr i s t i an R . Ho l mes303. B U D D H I S T T R I N I T Y T i T s a n g ( ? ) w i t h t w o bodhisat-tvas . Gi l t -bronze , H . 8 % in . w . 7 in . T 'an g .Char les B. H oy t , courtesy of the Fog g A r t M use um304. K U A N Y I N . Gi l t - b r onze , H . 28 in . Late T 'an g .The Uni ve r s i t y Mus eum, Ph i l ade l ph i a305. L O H A N . Gi l t -bronze , H . 3 % in. T 'ang or ear l ier .Mr . and Mrs . James Marshal l Plumer, cour tesy of the Fogg ArtM u s e u m

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    B U D D H I S T B R O N Z E S306 . B U D D H A . Gi l t -b ronze , H . 5 % in . T ' an g .Mr . and Mrs . James Marsha l l Plumer, cour tesy of the Fogg ArtM u s e u m307. BODHI TREE WITH DHYANI BUDDHAS. Gilt-bronze.H.5%6 i n . T ' a n g .Mr. and Mrs . James Marshal l Plumer , cour tesy of the Fogg ArtM u s e u m308. A P S A R A S . Gi l t -b ronze , H . 4 % in . T ' a n g .Mr . and Mrs . James Marsha l l P lumer , cou r te sy o f the Fogg Ar tM u s e u m309. B O D H I S A T T V A . H . 13in . Su ng .Th e Me t r o p o l i t a n Mu s e u m o f A r t310 . S E A T E D B O D H I S A T T V A . Gi l t -b ronze , H . 9 % i n .Base % in . sq . Su ng .Ph i lade lph ia Museum o f Ar t

    M I S C E L L A N E O U S B R O N Z E S311 . A N I M A L I N F L A T O U T L I N E (p ig? po rcup ine? boa t? ) ,H. 7 in. L.18in. Possibly early Sh an g.T he H ono rab le and M rs . Rober t W ood s Blis s312. P A IR O F H O R S E S . Si lver-bronze , H . 6 in . L . 9 % i n .Shang(?) .Le o n a r d C . H a n n a , J r .313. R A B B I T , H . 5 % i n . D a t e u n c e r t a i n .M r s . C . Suydam C u t t i n g314 . V E S S E L (tou). H . 7 % i n . w . 8 in . Late Chou s ty le .A r n o l d G e n t h e315. B U C K L E wi th tu rquo ise in lay , L . 2 % i n . La t e C h o u .M r s . Chr i s t i an R . Ho lmes

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    M I S C E L L A N E O U S B R O N Z E S316. B U C K L E with traces of inlay, L .8% i n . La t e Chou .M r s . Chr i s t i an R . Ho l mes317 . B U C K L E . Gi l t -bronz e w i th j ade in lay , L . 6 % i n . La t eC h o u .M r s . Chr i s t i an R . Ho l mes318 . B U C K L E . Gi l t -bronze w i th j ade in lay , L . 7 % i n . La t eC h o u .M r s . Chr i s t i an R. Holmes319. B U C K L E with si lver inlay, L . 9 in . La te C ho u.M r s . Chr i s t i an R. Holmes320 . B U C K L E with si lver inlay, L . 6 % i n . L a t e Chou .M r s . Chr i s t i an R . Ho l mes3 2 1 . B U C K L E . Gi l t - b r onze , L . 6 % i n . L a t e C h o u .M r s . Chr i s t i an R. Holmes322. B U C K L E wi th gold and s i lver inlay, L . 8 % i n . L a t e C ho u .M r s . Chr i s t i an R. Holmes323. B U C K L E wi th gold and s i lver inlay, L . 2 % in . La t e Cho u .M r s . Chr i s t i an R. Holmes324. B U C K L E in la id wi th g i l t -bronze and j ade p laques .L. 8 i n . La t e Chou .M r s . Chr i s t i an R. Holmes325. B U C K L E . I ron wi th gold an d s ilver inlay, L . 9 % in . La t eC h o u .M r s . Chr i s t i an R . Ho l mes326 . B U C K L E . Gi l t -bronz e in la id w i th j ade p laq ue , L . 2 % i n .La t e Chou .M r s . Chr i s t i an R . H o l m es327. B U C K L E . Gi l t -bro nze wi th jade an d glass inlay, L . 9 in.L a t e C h o u .T h e Ho no rable and M rs . Rob er t W oo ds Blis s

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    M I S C E L L A N E O U S B R O N Z E S328. B U C K L E . Cloi sonne , L .8% i n . H a n .Mrs . C h r i s t i a n R . Ho lme s329. B U C K L E . Gi l t -b ronze w i th tu rqu oise inlay, L . 4 in . H a n .Mrs . D a g n y C a r t e r330. D R A G O N , H . 14 in . w . 8 in . Han or la te r .Mrs. John D. Rockefel ler , J r .331 . P H O E N I X . Gi l t - b r onze , H . 3 % i n . W e i ( ? ) .Mrs . C h r i s t i a n R . Ho lme s332. P A I R O F W A L K I N G D R A G O N S . Gi l t -bronze , H . 2 % in.w . 3 % in . Six D yn ast ie s .T h e Me t ro p o l i t a n Mu se u m o f Ar t333. I N T E R T W I N E D D U C K S . En gra ved and in la id w i th go ld .L. 3 % in . S ix Dy n a s t i e s .F i e ld Mu se u m o f Na tu ra l H i s to ry334. M O N S T E R M A S K . Gi l t - b r onze , H . 5 % 6 in . w . 7 % in . S ixDynas t ies .T h e C le v e la n d Mu se u m o f Ar t335. F O U R S I G N S O F T H E Z O D I A C (d o g , r a m , p ig , a n d h a r e ) .H. of thre e 7 % in . , of on e 7 % in . Sixth centur y or ear l ier .Samuel C . Davis336. W A L K I N G D R A G O N , H . 4 % in . L . 6 % i n . T ' a n g .Alb e r t E . Mc Vi t ty337. T I G E R . Gi l t -bronze , H . 2 in . L . 3 in . T 'a n g or ear l ier .Mrs . Chr is t ian R . Holmes338. I N C E N S E B U R N E R . Gi l t -bronze , H . 9 % i n . D I. of lid 7 in.T ' ang or ea r l ie r .Mrs . C h r i s t i a n R . Ho lme s339. S E A T E D L A O T S E . Gi l t - b r onze , H .2 % in . S ix Dyn as t ies o rea r ly T ' ang .Mr . and Mrs . Ne lson A. Rockefe l le r340. S E A T E D LA O T S E . H . 9 % i n . Sung or earlier.M r s . John D. Rockefel ler , J r .

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    A D D E N D AThe objects listed below were received too late to be included

    in the catalogue proper.341. V E S S E L (three-legged round ting), H. 6% in. DI.5% in.Shang.342. D A G G E R , L. 1 0 % in. S h a n g .343. D A G G E R , L. 1 7 % in. Shang .344. F O O D V E S S E L (chiu). H.6% in. DI. 1 2 % in. Ear ly Chou.345. F I T T I N G S FOR C H A R I O T (4) . Ear ly Chou.346. P I N . L .6% in. Ear ly Chou.347. P A I R OF HUB C A P S wi th p ins . L. 6% in. DI. 2 % in.L.of pins4 % in. Mi dd l e Chou .348. F I T T I N G S FOR C H A R I O T (3) . Mi dd l e Chou .349. T I G E R (vase s u p p o r t ) , L.4 % in. H.3 % in. Mi dd l e Chou .350. P A I R OF HUB C A P S wi t h p i ns . L.2 % in. DI .2% in. L.ofpins2 % in. La t e Chou .3 5 1 . P A I R OF HUB C A P S wi th p ins . L.2% in. DI .3 in. L.ofpins 2% in. La t e Chou .352. S P E A R H E A D , L.8% in. La t e Chou .353 . P A I R OF D O OR H A N D L E S wi t h mons t e r m a s k s , H.4 % in.DI.of r ings2 % in. La t e Chou .354. B U C K L E , L.3 % in. La t e Chou .355. B U C K L E , L. 3 % in. La t e Chou .356. B U C K L E , L.3 in. La t e Cho u .357. B U C K L E , L .2 % in. La t e Chou .358. V E S S E L ( three- l egged round ting), H.7% in. DI. 1 0 % in.Lat e Chou .359. P O L E END inlaid wi th silver, L.5% in. La t e Chou .360. K N I F E ( ? ) H A N D L E , L.6 in. Late C h o u .3 4 1 -3 6 0 . Alfred F. Pil lsbury, courtesy of The Minneapol i s Inst i tute of Arts

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    A D D E N D A361 . W I N E V E S S E L (yu) w i t h cover, H . 9 % i n. D I. 9 in .Shang o r Ea r l y Chou .362 . M A I T R E Y A . Gi l t - b r onze , H . 1 7 % i n . W ei .The Detroi t Ins t i tute of Ar ts363. F O O D V E S S E L (p'ou). H . 7 % i n . D I. io in . Sh ang .Leo S. Bing364. S T A F F E N D in form of dove. L . 5 in. H . 2 % i n . H a n o rearl ier .Len t anonymous l y365. F O O D V E S S E L (tou). H . io in . DI. 8 % i n . H a n .Mr s . Ed w ar d Sonnens che i n366. MIRROR, D I. 5 % in . R im % in . th ick . S ix Dyn as t i es orearl ier .367. H E X A G O N A L M I R R O R . Si lver -bronze , D I. I O % in . Rim% in t h i ck . T ' an g .368. MIRROR, D I. 8 % i n . R i m i n . th i ck . T 'an g.369. MIRROR. Si lver-bronze w i th chased gold deco rat ion.DI. 4 % in . R i m %6 in . th ick . T 'an g.370. BO X wi th cover . Chased gold decora t ion , H . I % in.DI. 1 % i n . T ' a ng .371 . V A S E . Gi l t - b r onze , H . 3 % in . D I.3 % i n . T ' a n g .372. F L U T E D O V AL D I S H . Gi l t - b r onze , H . 1 % i n . L . 7 % i n .T ' a n g .366-37 2. C har les B. H oy t , cour tesy of the Fo gg A r t M use um

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    Photograph. The Minneapolis Institute of Arts

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

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    C ATALOGUE N O . 2

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    CATALOGUE N O . 8

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    r.

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    CATALOGUE N O . I I

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    Photograph, William Rockhill Nelson Gallery of Art

    C\TA LO G U E N O . 21

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    ( ourtesy ol Mr, and Mrs. dsel B. Ford

    CATALOGUE NO. 46

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    CATALOGUE N O . 5 3

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    CATALOGUE N O . 5 9

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    Photograph , Lewis P . Woltz

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    Photograph , Fogg Ar t MuseumC A T A L O G U E N O . 9 0

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    C ATALOGUE N O . 91

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    Photograph , The Toledo Museum of Ar t

    C A T A L O G U E N O . 9 4

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    CATALOGUE N O . 141

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    Photograph, Field Museum of Natural His tory

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    CATALOGUE N O . I44

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    Photograph, The Minneapol is Ins t i tute of ArtsC A T A L O G U E N O . I 4 6

    Photograph, The Minneapol is Ins t i tute of ArtsC A T A L O G U E N O . I 4 7

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    CATALOGUE N O . 153

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    CATALOGUE N O . 159

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    \

    Photograph, Wil l iam Rockhil l Nelson Gallery of Art

    C A T A L O G U E N O . 164

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    Photograph , The C leve land Museum of Ar tC A T A L O G U E N O . 177

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    CATALOGUE N O . 185

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    CATALOGUE N O . 245

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    Photograph , The Univers i ty M useum , Ph i lade lph ia

    C A T A L O G U E N O . 279

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