Exhibition ideas HWS

Asian Arts & Culture Center Fall 2016 HenrySmith
1
Exhibit ideas to accompany Han Bronze Vessel
The purposeof this write up is to providetwo ideas for exhibitions that
would center on the new acquisition, the Han Dynasty bronzevessel(M-1000). If
authentic, this vesselcould be 2,200 to 1,800 year old and represents a golden
age in Chinese Imperialhistory. TheHan Dynasty solidified the idea of an imperial
governmentdeveloped under the Qin, and lasted for 400 years. Many of the
practical ideas of China as a state came fromthis period, and has been a sourceof
legitimacy and inspiration for virtually every subsequentChinesestate. Much of
the Chinese national identity comes fromthis dynasty, and its importance is
paramountto understanding Chinese history, society, and culture. This vessel
represents life in the Han Dynasty, and is a good look into the time period.
The vessel is important not only for its age, but also for its material. Itis
made of bronze, which was the dominant metal for a large portion of human
history even outside of Asia. Bronzewas used in art, war, and common life.
Bronzeimpacted everyonein the ancient world, either at the end of a bronze
spear or at the mouth of a bronzecup. Itwas interwoven into ancient society, and
even after the onsetof the Iron Ageit would maintain an important place. The
use of bronzein art cannotbe ignored, as the techniques, motifs, and styles
developed in China and Asia’s BronzeAge affected the eras after it, and can still
be found in the modern world. Understanding the role of bronzein military,
historic, geographical, social, or, in this case, art is important to understanding
Asian culture.
The Han bronzevesselallows for either method to be taken. Its place in
ancient Chinese civilization can be expanded and elaborated to show the
development of Chinese art and culture. Alternatively, its role as a bronzepiece of
art can be emphasized to showcasetheuse of bronzein wider Asian artand
culture.
Possiblepieces fromthe collection that could be used in the exhibition are
listed below. Included are the title and collection number of each piece, the
collection databasedescription, any of my additional notes or research, donor,
dimensions of the piece, and a photo of the piece. The Bronzeexhibition ideas
starton page 3, and the Ancient China exhibition ideas start on page 34.

2
This exhibit is to be located in the vitrines outside of the Asian Art& Culture
Center Gallery. Dimensions of the vitrines are listed below, as well as current use
for the Folk Pottery of Asia exhibit.
Vitrine dimensions:
First on the right: 12” depth, 25” height, 75” length
12 objects (cluster of 7), 1 informational label, 6 labels
Second on the right: Not used for object display
Third on the right: 11” depth, 12” height, 68” length
12 objects, 3 informational labels, 9 labels
Fourth on the right: 11 7/8” depth, 49” height, 60” length
6 objects, 6 labels
Fifth on the right: 11 7/8” depth, 33” height, 27” length
4 objects, 4 labels

3
Bronze exhibition
The Bronze exhibition would look at bronzepieces fromthroughoutAsia to
show the widespread useof the metal in art across spaceand time. China,
India, Thailand, Japan, and Korea are all represented here, with a massivetime
frame going back to the 12th
century BCE up to the 20th
century CE, making up
over 3,000 years of Asian bronzehistory. The BronzeAge of Asia dates back to
the murky waters of early history to the establishment of empires in the mid-
firstmillennium BCE. Bronze was the chief material used for art and war during
this time, and was an important aspect in ancient Asian societies. However,
even with the riseof iron and porcelain, bronzemaintained an integral
position in Asian life and art, and its importance can still be seen to this day.
The diverse functionality of bronzeis also shown in this collection. Froma
humble storagejar to a spiritual representation of the Buddha to ornate
statuettes, bronzeis used in both everyday life and in artistic and spiritual acts
of expression. Severalunique styles have been developed for the use of bronze
working, and these help us to understand the development and place of
bronzeart in Asian societies. These style have also dispersed into other
mediums, and the effect of bronzeart can be seen throughoutmany Asian art
forms.
This exhibition would be organized either geographically or functionally.
What this means is that the pieces could be arranged by country of origin, so
that for example Japanesebronzes would be together in a display while Indian
bronzes would be in another section. This would show the different regional
styles, the development, and the differences in East and South Asian bronze.
The countries would be China (Tibet), Japan, Korea, India (Kashmir, Chola), and
Thailand (Thai, Sukhothai). Alternatively, the pieces could be arranged by
function or type, so that similar kinds of pieces would be grouped together.
This would show the range of useof bronzeworking in Asia. The functions
would be everyday use(pots, bowls, kettles), religious use (Buddhist,
Confucian, rituals), and artistic representations (warrior figures, mythological
creatures, abstractdesigns).
This can be expanded to other geographic locations in Asia other than the
Far East, South, and Southeast. Bronzeis a widely used medium, and bronzes

4
fromother regions and cultures can be easily added to thoselisted below. This
exhibit and the AA&CC tend to focus on Eastern and Southern Asian art, but
Bronzeoffers us an opportunity to include Middle Eastern art fromPersia or
Afghanistan, for example, or Central Asian art from the Timurid Empire or
Eastern Russia. This exhibition can also be extended beyond Asia to work with
European, Africa, Oceanic, or American bronzeart should the opportunity
arise.
Labels should include title of object, country of origin, Dynasty/Kingdom/
period/ etc., time period, medium (material), a shortone to two sentence
description, donor, and collection number. The description should highlight
the importanceof bronzein the piece and give the piece context or explain its
importance. Larger informationallabels can be used to give more information
on the methods of bronzeworking, and/or, depending on the organization of
the exhibition, information on bronzeartin the specific countries or the
functional uses of bronzeart.
The listing of 40 possibleobjects are organized here by country of origin
and by date.1
Should organization by function be preferred, the function(s) of
each piece are listed in blue.
China
o 12th
Century BCE (?) Bronze Vase,M-037
 Chinese Bronze Gu(Ku) Vase.Bronze. Condition:Goodexceptforabrasionto
patination.
 Gu vaseswere usedforritualsinthe Shang (1750-1027 BCE) and Zhou1046-256
BCE) dynasties
 12th
centuryBCE puts thisintothe laterpart of the ShangDynasty
o Highperiodof the Bronze Age in China
 Oftenhasa taotie
 Wouldbe duringthe ZhengzhouorAnyangphase
 Onlyone gu vase from Zhengzhouphase
o Tomb inErligang
o Decorsconcentratedonband at the lowerbody
o Crossshapedholesonthe foot
 Anyangphase began14th
centuryBCE withShangcapital movingto Yin
o Changesin gu
1 Only 38 areavailablefor placement in the vitrines.There are34 objects currently in the Folk Pottery of Asia
exhibit.

5
 Taller(25.5-31 cm) and mouthwiderthanbottom(14.2
cm
 Base raisedwitha short roundfoot
 Decorsextendfromwaisttorim
 Three triangle registers
 Bronzeswere usuallyfullydecorated
 Thisgu doesnothave weightordimensionslisted.Noraisedfootor
decorationscanbe seenfromphoto.SuggestsZhengzhouperiod,but
thisseemsincredulous
 Donor: Mr. & Mrs. R. AustinTydings
 Function:Ritual use
 No dimensionslisted

o 2nd
centuryBCE bronze leopard,M-077
 A small cast bronze leopard,splitintwomatchinghalves,withcalligraphyon
the surface of itsbody.
 Calligraphymightmean“WithEightStars”
o Leoplardmustbe turnedon itsside (headfacingup) andread
top down
o Yǔ de xīngbā
o 与的星八
o Stars were associatedwithcoinsinAncientChina
 May have beenacharm for goodfortune
 http://primaltrek.com/yinyangfiveelements.html
 Han Dynastyruledforentiretyof 2nd
centuryBCE China
 EmperorWu ruledforalmosthalf of thistime period(r.141-87 BCE)

6
 Donor: Joanne andAlanShecter
 Function:Everydayuse orartisticrepresentation
 2” W

o Han DynastyChinaHan Bronze Vessel, M-1000
 Chinese bronze vessel,Fanghuform.Square incrosssection(base andlid).Sides
are curvedand protruding,meetinginfouredges.Ontwoopposite sides,mid-
upperpart, roundringtype handlesattachedbystylized(dragon)loopholders.
Lid isdomedwithfouredgesanda square flattop.Four finial ornamentsof 1
1/2 highon eachcorner of the lid.FanghuVessel.China.HanDynasty.Bronze.
Giftof Dr. & Mrs. RobertCumming.M-1000. Fanghu(方壶) literallymeans
“square pot.” Fanghuwere usedinritualsinthe earlyBronze Age China
(approximately2000 BCE to 771 BCE),but bythe time of the Han theywere
usedformore practical purposes,mainlywine andcereal storage.Thisfanghu
has a simple shape withasmoothsurface,intricate decorative lid,andring
handleswithataotie (stylizedmythicalanimal mask) design.Italsodisplays
evidence of giltremnants.Thisdesignoriginatedinthe WarringStatesperiod
(475 and 221 BCE), and continuedtobe commoninthe Han period(206 BCE-
220 CE).
 Donor: Dr. and Mrs. RobertCumming
 Function:Everydayuse orRitual use
 15 1/2" H, 8-1/2” W, 9-1/2” D
 Can’tfit insecondcabinet

7

o SongDynastyFu Talley,S-085
 Carvedjade Tallyinthe form of a dog,intwo parts.A tallywasan ancient
memoryaiddevice usedto recordand documentnumbers,quantities,oreven
messages.Tallysticksfirstappearasanimal bonescarvedwithnotches,inthe
Upper Paleolithic.Tallieshave beenusedfornumerouspurposessuchas
messagingandscheduling,andespeciallyinfinancial andlegal transactions,to
the pointof beingcurrency.InancientChina,theywere alsoknownasfuand
were made of bamboo,wood,metal (gold,silver,bronze) orjade andusedas a
proof of authorization.Fucome inmanydifferentshapes,suchasa lion, tiger,
dragon,turtle,snake,fish,human,orlike thisone,adog.
 Donor: Howardand DeborahChasanow
 Function:Everydayuse orartisticrepresentation
 1-1/4” H, 2” W, 1/2" D

8

o 17th
centuryChinaCenser,M-091
 A bronze censer,realisticallymodeledafter aduckstandingontwo webbed
feet,supportingahollow chamberonitsbackwithremovable coverinthe
shape of wings,andthe crestedheadhasan openbeak.
 Donor: Dr. and Mrs. OliverFoo
 Function:Artisticrepresentation
 7-1/4” H, 2-5’8” W, 4-1/2” D


9
o 18th
centuryChinaGuardianbronze,M-025
 Chinese Guardianbronze.
 Couldpossiblybe aMenshen,literally“DoorGod.”Placedinentryways toward
off evil spirits.Usuallypaintingsoraffixedpictures.Almostnoexamplesof
sculptureslike thispiece.Come inpairs,mustface eachotheror else itis
consideredbadluck.
 Donor: Mr. and Mrs. R. AustinTydings
 6 1/2" H

o 18th
CenturyChinateapot,M-039
 A melon-shapedcast-ironteapotwithashortS-shapedspout,aforged ironbail
handle anda bronze lidwithflowerfinial.
 Donor: WilliamFurman
 Function:Everydayuse
 9” H


10
o 18th
centuryChinaMirror, M-026
 A bronze mirrorwithTLV patterninthe late Han Dynastystyle.Besidesthe
traditional patternof the lettersT,L, andV, ithas geometricandanimal forms
and a raisedandsegmentedrosette atthe center.
 Scholarlydebate overthe meaningof T,L, andV. Couldbe symbolicof
cosmologyorrelatedtothe Chinese boardgame Liubo
 Donor: AsianCultural Exchange Foundation
 Function:Everydayuse orArtisticrepresentation
 6" C

o Circa 1800 ChinaBronze Mirror, M-027
 Bronze mirror.China,late Han dynasty(25-225 AD) style.6-7/8"diam.
Condition:Verygood.
 Has a square designinthe middle,asopposedtothe circle design of M-026
 Donor: TowsonUniversityFoundation(needresearchfororiginal donor)
 6 7/8” C

11

o 18th
or 19th
centuryChinaMirror withStand,M-028
 Thismirror wasmade in the style of the Tang Dynasty.The decorationof this
mirroris a veryrudimentarydesignof the “lionsandgrape”theme witharaised
and segmentedrosette.
 5-3/8” H, 3” C

o 19th
centuryHan Dynasty style ceramicjar, C-075
 Chinese Ceramicjarmade tolookbronzed.Measuring13 ½" high. Condition:
Fair.
 Can’tfit insecondcabinet

12

o 19th
CenturyChinaVase,I-039
 An ivorysculpture mimickingthe appearanceof anarchaic bronze vessel.The
vase and lidare carved withelephants,dragonsandTaotie masks.A restriction
requiresthe creditline toread“Fromthe Collectionof Monroe UrisSarezky A
restriction requiresthe creditline toread“Fromthe Collectionof Monroe Uris
Sarezky.”.”
 Notmade of bronze,butcraftedin a style commontobronze vases
 Donor: Monroe Uris Sarezky.A restrictionrequiresthe creditline toread“From
the Collectionof Monroe UrisSarezky.”
 10-1/4" H


13
o 19th
centuryChinaCenser,M-081
 A cast bronze censerwitha piercedliddecoratedwithabamboo leaf motif,
whichcontinuesontothe sidesof the flattenedball body.
 6” H, 3-1/2” C

o 19th
centuryChinaGuanyin,O-031
 A Guanyinfigure castinbronze and lacqueredandpaintedoverall,seatedonan
ornatelycarvedtwo-tieredwoodenseatinredlacquerwithgoldcoloronsome
of the carvings.
 Notentirelybronze.Alsohaswoodandlacquer.
 Donor: HsinHsinFoo
 Function:Religioususe
 24-5/8” H, 9-1/2” W, 7-3/4” D
 Can’tfit infirstor secondcabinet

14

o Late 19th
centuryChinaMonk,M-014
 A bronze monkfigure,withone armpointingtoheavenandthe otherpointing
to earth.Thisitemislistedinthe paperfilesandinFMas a monkbut inExcel as
a baby Buddha.There isno period/date listedinthe paperfiles,notsure where
the 19th centurydate came from.The date donatedfieldindicatesthatdate
that RobertKlein’sobjectswere deliveredtoAACC.There isnogiftform.
 Late 19th
centurywasthe decliningQingDynasty
 Couldbe walkingorprotective Buddha,butseemsunlikely
 Donor: RobertKlein

15
 6 3/4" H

o 19th
centuryChinaArchaisticTripodCenser,M-055
 The basic shape of the censeris takenfromthe EasternZhou Dynasty.Ithas
raisedbirds(cranes) andprunusingold wash/giltdecorationonabronze
ground.The decorative style isassociatedwithHuWenming,whoworkedinthe
late Ming period,andthisvessel islikelyaloose interpretationof hisdistinctive
work.However,the choice of decorative motif - cranedagainstprunus -
indicatesalaterdate.It has three legswithanimal masksandiswithoutalid.
 6” H, 4-3/8” W, 3-3/4” C

o 18th
CenturyTibetAvalokitesvara,M-016
 The four-armedaspectof AvalokitesvaraisknownasShadakshari Lokesvara.
Shadakshari means“six syllables”andreferstothe associationof the popular
Tibetanmantra“om mani padme hum” withAvalokitesvara.The bodhisattva
sitsina yogicposture,harnessingthe powerof meditation.One pairof hands
expressesthe anjali(veneration) mudra,while the othersexpresswardingoff
evil withkaranamudras.

16
 PreviousDescription:TibetanAvalokitesvaraorBodhisattvaof Compassion.
Measuring6 3/4" H. Gilt bronze Avalokitesvaraisdressedinthe robesand
jewelryof aBodhisattva.The four-armedaspectof the deity isknownas
Shadakshari Lokesvara.Thisformof the Bodhisattvaisbelievedtobe incarnate
ineach Dalai Lama. Shadakshari means“six syllables”andreferstothe
associationof the popularTibetanmantra“om mani padme hum”with
Avalokitesvara.Lokesvarameans“Lordof the World.”Thisispossiblyanimage
made inChinafor Tibetanuse or one that showsChinese influence particularly
inthe treatmentof the scarvesandperhapsin the lotuspedestal.
 6 3/4" H, 5" W, 3 3/4" D

India
o 19th
centuryKashmirBuddha,M-001
 ThisBronze sculpture of Buddhawas made inthe 19th centuryand ismade to
mimicthe Kashmiri style of the 10th century;these typesof Buddhaswere
made of ungiltmetal (suchasbronze,copperalloy,orbrass) andhad distinctive
featuressuchas the wayhis robe isdrapedoverhisleftshoulder,andthe slight
protrusionof the chin.The Buddha sitswithhishandsindharmachakra
(teaching) mudra.
 Is made of bronze despite description’s inexplicitness
 Dharmachakra positionsymbolizeswhenhe firstpreachedhissermons afterhis
Enlightenment
 Signifieswisdom, understanding,and fulfillingdestiny
 http://www.lotussculpture.com/mudras.html

17
 http://www.thebuddhagarden.com/buddha-poses.html
 Durrani Empire (Afghanistan),Punjabi Empire (Sikh), andthe PrincelyState of
KashmirandJammu (1846-1952, part of the BritishEmpire inIndia) all ruled
Kashmirinthe 19th
century.Veryturbulenttime forthe region,andatransition
intothe modernage of colonialism.
 Donor: Mr. R. A. Klein
 15” H x 9 3/4” W x 5” D

o 18th
centuryIndiaKrishna,M-022
 Krishna,a manifestationof the Hindudeity,Vishnu,isoftendepictedasaboyor
a man playingthe flute.Inthe BhagavadGita,an ancienttextthatis part of the
IndianMahabharata epic,Krishnateachesthe warrior,Arjuna,aboutthe actions
and practicesrequiredtoachieve self-realization.Krishnaexplainshow ayogi
shouldmeditate tosubdue hismind.He alsoindicatesthatthroughmeditation,
one can see the Self inthe Self bythe Self.
PreviousDescription:A bronze musician,apartnerto M-023, whoappearsto be
playingthe flute orsimilarinstrument,thoughthe instrumentisnotpresent.
There are inciseddecorationsdelineatingclothingandapparel.The date
donatedfieldindicatesthatdate thatRobertKlein’sobjectswere deliveredto
AACC.There isno giftform.
 11” H, 4 1/4 “ W, 4 1/2” D

18

o 18th
centuryIndiaMusician,M-023
 A bronze musician,apartnerto M-022, appearsto be playinghandcymbalsor
similarinstrument,thoughthe instrumentisnotpresent.There are incised
decorationsdelineatingclothingandapparel.The date donatedfieldindicates
that date that RobertKlein’sobjectswere deliveredtoAACC.There isnogift
form.
 Neitherof the pairhave theirinstruments
 10" H

o 19th
centuryIndiaShiva,M-024
 A bronze figure of the greatGod Shiva,inthe Cholastyle of the 10th century.He
isamong the most mysteriousandcomplexdeity.Worshipedbyhundredsof
millionsof Hindus,Shivahasmanymanifestationsorforms.He isthe all-
encompassing,the creator, the preserver,the destroyerof the universe,the

19
lordof dance,andthe benignteacher.Inarelativelysimpleformandan
abbreviatedfashion,thisfigure standsrelaxedandatease,leaningonhis
vehicle Nandi,the Cow (missinghere.)The piled-upmattedhairshapedina
snake and the vertical thirdeye - symbol of fire anddestruction - are
characteristicsof imagesof Shiva.
 The CholaDynasty(300s BCE-1279 CE, imperial datesare 850 CE-1250CE)
controlledSouthIndiaandSri Lanka andhad influence overthe extendedeast
coast of India,Bago (Myanmar),the PeninsularMalaysia,JavaandSumatra.The
10th
centurywas a time of expansion.DiplomatictieswithBurma,China,and
Malaysia.Changingreligiousconcepts,deitiestake onpublicroles:dailyrituals,
processions,andtemplefestivals.Sensuousdepiction,detailedclothingand
jewelry.Createdusingawax technique.Bronze workinghitaboomduringthe
Cholaperiod.Coveredwhennotinreligioususe.
 http://www.asiasocietymuseum.org/region_results.asp?RegionID=1&Co
untryID=1&ChapterID=7&PageID=1;
https://en.wikipedia.org/wiki/Chola_art#Sculpture_and_Bronze
 Were portable.Oftenhadholesinbase thatcouldbe usedto attach stickto
carry. Thispiece doesnotappearto have one.
 Portable (practical) nature of the bronzespreservedthe styleanduse of
Cholaart
 36 “ H, 12-1/4” W, 10-1/4” D
 Can’tfit infirst,second,orfifthcabinets
o Onlyinfourthcabinet


20
Thailand
o 14th
centuryor laterThailandWalkingBuddha,M-002
 Thai bronze figure of the walkingBuddha,heavilypatinatedandrestored.
 WalkingBuddha’s signifiesgrace andinternal beauty
 http://www.thebuddhagarden.com/buddha-poses.html
 Kingdomof Lavo (450-1388), Kingdomof Sukhothai (1238-1583), Lanna
Kingdom(1292-1775), and Kingdomof Ayutthaya( 1351-1767) all controlled
part of Thailandinthe 14th
century.
 14 7/8" H

o 14th
-15th
centuryThailandBuddha,M-013
 As perJoannafor the Meditaitonexhibition:The Buddhastandswithhishands
inthe abhaya(fearlessness) mudra.He ismade inthe Sukhothai style.From
donorfile:Full-length,standingSukkothai bronze Buddhawithhandsinvitarka
mudra,on a 5” H square woodenbase.
 Sukhothai wascapital of the Sukhothai Kingdom(1238-1583).
 InfluencedbySri Lankanart
 Flame ontop of head,headcoveredinoval
 A flame appearedontopof the head of the Buddha.The headis
coveredwith fine curledhair.The face isoval,withhighcurving

21
eyebrows,ahookednose,adownwardgaze,andoverall displaysa
gentle smilingexpression.
The body of the Buddha imagesdisplaysbroadshouldersanda small
waist.
Overall itcan be saidthat the BuddhaImagesdo not appearhuman,but
displayidealisticorsuperhumancharacteristics.
Duringthe Sukhothai era,the fourposturesof the Buddha (sitting,
standing,walking,reclining)were created.
Buddhaimagesof the Sukhothai eraare subdividedinseveral groups.
The image rightbelow here displaysPhraPhutthaChinnaratimage in
Phitsanulok.Itbelongstothe PhraPhutthaChinnaratgroupof images.
Notice thatthe face ismore roundedwitha flame shapedaureole.The
fingersoneachhand are of equal length.SittingBuddhaimagesof the
Sukhothai periodmostoftendisplaymeditationposture,orthe gesture
of SubduingMara.Walking Buddha’s displaythe gesture of dispelling
fear(AbhayaMudra),or givinginstruction(VitarkaMudra).Sitting
Buddhaimagesof the Sukhothai periodmostoftendisplaymeditation
posture,orthe gesture of SubduingMara.Walking Buddha’s displaythe
gesture of dispellingfear(AbhayaMudra),orgivinginstruction(Vitarka
Mudra).
o http://www.buddha-images.com/sukhothai.asp
o Thisis standingBuddha,gesture of Forbiddingthe Relatives
fromFighting.
 20 3/4" H

22

o ThailandBronze BuddhaHead,M-089
 Small bronze Thai Buddhahead.
 Donor: Mr. Charles& Muriel Walts

o Sukhothai period15th
centuryThailandBronze BuddhaHead,M-086
 Bronze Thai Buddhahead.Measuring10-1/4" H.
 Expressionmaysuggestthe posture of the full Buddha

23

o Sukhothai period15th
centuryThailandBronze Incense Burner,M-087
 Small Thai bronze incense burner.
 Figure ontop of burnerseemsquadrupedal,withhornorflame comingfrom
head
 Photoisinconclusive
 7” H

Korea
o 16th
centuryKoreaBronze Vase,M-038
 KoreanBronze vase.Measuring12-3/8" H. Condition:Dentedonone side.
 Heavygreenpatina
 16th
centuryKoreawas a turbulentandviolentperiod
 Literature purgesunderYeonsangun
o Tyrannical rule
o Deposed1506

24
 Radical reformsunderministerJoGwang-jo
o More economicequality
o Reductionof bureaucratsandcorruption
o Opposedbyconservative officials
 Jo wasexecuted
 Reformsremoved
o Factional strugglesforpower
 Sarimfaction
 rebellions
o Japanese invasion
 1592-98
 Occupiedsouthernartof the peninsula
 Hanseong(Seoul) andPyongyangtaken
 Guerrillaresistance
 Admiral Yi Sun-sin
 Assistance fromMingChina
 12 3/8” H

o 19th
-20th
centuryKoreaGwan-eum, M-015
 A bronze figure of Gwan-eum(knowninChinese asGuanyinandinJapanese as
Kannon),the Bodhisattvaof Compassion,seatedona woodenplank.Herright
arm is outstretchedandherelbow isrestingonherrightknee.Herleftarmis
restingina downwardposition,where ittouchesthe standuponwhichshe sits.
Beadsand jeweledpendantsare showninrelief.

25
 24 1/2" H, 16" W
 Wouldhave onlya half inchof space infirstcabinet

Japan
o 19th
centuryJapan Vase,M-049
 A coppervase of a flattenedbalusterform, withcloisonné enamels.Ithasan
incurvedbase withsmall-scaledblue,green,andwhite flowers.The endpanels
have a lapisgroundon whichare two lavendermedallions.The wide main
panelsoneachside depictbranchesof peachblossomssetagainsta landscape.
The vase has an incurvedneckwithcast bronze handlesinthe formof peach
blossoms.
 Onlythe handlesare bronze
 Role of bronze as secondaryinart forms
 Donor: WilliamFurman
 15” H, 9” W

26

o 19th
centuryJapan Pairof Candlesticks,M-070
 Two cast bronze pricketcandlestickswithabrightbrownpatina.Theysiton
tripodbases,have maskedknees,andurn-formshaftcenterswithelephant-
formhandles.Theirtopshave flat-rimmeddripplateswithpricets(simple
spikes) onwhichtoimpale candles.
 9” H, 2-1/2” C


27
o 19th
centuryJapan DragonUrn, M-080
 A cast bronze triple gourdurnon a round footedandcollaredbase.A dragon
climbsaround the bodyof urn.Panelsof a wave motif decorate the body.
 Function:Artisticrepresentationoreverydayuse
 10-1/2” H

o Late 19th
-centuryJapan GuanyinBronze,M-045
 Japanese GuanyinBronze.Measuring151/4” x 7” x 3 1/2” (withoutstand)
 Buddhistbodhisattva
 “Goddessof Mercy”
 CalledKannon 観音 inJapanese
 Donor: Mr. & Ms. WilliamE.Ward
 15 1/4” H, 7” W, 3 1/2” D (withoutstand)

28

o Late 19th
centuryJapanbronze samurai horse,M-065
 Bronze of Samurai onHorse.Measuring22" H x 24-1/2" W. Condition:Good
exceptforone lossof metal.
 Onlytwoand a half inchesof space (length) infifthcabinet

29

o UnattributedBronze,M-066
 10 Kinkozancupsand bronzes,impressedsignature circa1890 (Donor:Philip
and Michelle Chenoweth)
 Kinkozanreferstothe potteryfamilyand factory
 Active 1645-1927
 ExportedtoAmerica
 Subsectionof Satsumawares
 Donor: PhilipandMichelleChenoweth
 No photo
o Meiji PeriodJapanBronze,M-096
 Guardianof the South,one of four Buddhistguardians(shitenno) assignedto
each of the four majorcardinal directions.Measuring33-1/4"includinglance.
An importantbronze sculpture finelycast.Condition:Excellentexceptthe blade
of the lance isbent.(Donor:Ms. SharonL. Barton,2011).
 Can’tfit infirstor secondcabinet

30

o Meiji PeriodLate 19th
-early20th
centuryJapanUsubata Vase,M-092
 A two-piece bronzeUsubataformvase forIkebana,or flowerarranging.The
body is of a bulbousformwitha wide,taperingflatrim, andwithhandlesto
eitherside of the neck.A two-piece bronzeUsubataformvase forIkebana,or
flowerarranging.The bodyisof a bulbousformwithawide,taperingflatrim,
and withhandlestoeitherside of the neck.A mountainous,cliffside waterfront
scene isincisedintoone side of the mainbodyof the vase,showingalarge
temple (?) underatree beingapproachedbya sailboat,withanothertemple on
a cliff inthe background.The templesandthe boathave a lightgoldcolor
appliedtothem.Itappearsas if the leavesonthe tree alsowere all originally
painted,butonlythe leavesof the lowestleftbranchesstill show tracesof gold.
The handlesappearto have facesonthem, perhapsserpents ordragons.The
vessel standsonthree carvedlegs.The toppart iswithoutanydecoration.
 Redundancyisincludedincollectionreport.
 Function:Artisticrepresentationandeverydayuse
 9-3/4” H, 11-1/2” C
 Onlya half inchto lessthanhalf an inch of depthspace in all cabinets
due to lid
o Couldbe placedseparatelyonitsside

31

o 20th
centuryJapan Bronze Urn, M-033
 Japanese bronze urnwithdragononbase.Measuring6' high.Condition:Good.
 Figure onthe top of piece.Holdingsomething,mightbe avase.Seemstobe in
the Chinese style
 A scene isdepictedonthe urndoor and sectionabove the dragon.Unclearwhat
the scene isdepicting.
 TowsonUniversityFoundation(needresearchfororiginal donor)
 Function:Artisticrepresentation oreverydayuse
 6’ H
 Can’tfit incabinets


32
o 20th
centuryJapan Bronze Bowl,M-034
 Japanese bronze bowl signedbythe artist,Okasaki Sessei,withadragon.
Exhibitedin1904 at the St. Louis"LouisianaPurchase Exbosition".Okazaki was
knownas one of three outstandingmetalworkmastersandworkedinthe
Imperial Court.He wasthe firsttoproduce collossal-sizedbronze castingsin
Japan. Measuring5' 7" high. (Atthe WaltersArt Gallery)
 I couldnot findthispiece inthe WalterArtGalleryCollections. Itiscurrentlyon
display,butnotlistedonline.Italsodoesnotmentionwhetherthe AA&CCare
the actual ownersof thispiece,orif the WAM ownit.
 Can’tfit incabinets

o Unattributedbronze vase,M-063
 Large bronze vase withcloisonné décor.Measuring11-3/4"H.
 Onlya quarter-inchof space insecondcabinet
 Cloisonné usuallyusedwithJapanese art
 Geometric,abstractdesign
 May be modern

33

Cambodia
o 20th
centuryCambodia6 WoodblockPrints,P-098.2
 StandingMusicianplayingChhing,(Chhing:asetof bronze hand- cymbals.
Providesasteadypulse forthe ensemble preventingmusiciansfromgettinglost
amidstdiverse renditionsof atune). Green,Brown,andOrange Paintingon
Paper.
 Featuresthe use of bronze,inthiscase had-cymbals.
 Donor: PhyllisK.andA.HarveySchreter
 22” H, 12-3/4” W
 No photographavailable

34
Ancient China exhibition
The Ancient China exhibition would look at Chinese art pieces from beforethe
Mongolian Invasion, or fromtheSong Dynasty and before. This exhibition would
take a chronological look at the long history of Chinese art across themillennia.
Fromthe pre-writing oracle bones to the medieval porcelain bowls, the vast
richness and depth of Chinese art would be on display. China is one of the oldest
civilizations in the world, and their role in Asian studies and art cannot be
understated. This exhibit would look at the origins of the Chinese civilization, as
well as the progression it made before the Mongolian conquest. This is not to say
that the Mongolian or Yuan leaders destroyed all culture and civilization, but it
does provide a good historical endpoint. Many empires and rulers havelaid claim
to the land encompassing China, but a continued tradition of art in many styles
has persisted. This exhibit would be a celebration of China’s past, and of the
artistic achievements of a seemingly far-goneworld. The realities and practices of
the pastare often shrouded in mystery and distance, but this exhibit would help
bring the lives and achievements of both the mosthumble artisan and most
splendid imperial craftsman to life. The sheer enormity of China’s history and
antiquity of the objects would be interesting alone, and is a major interest for
many art collectors. But ancient Chinese art is not just a conversation piece or
show of wealth, but a reflection of the culture and past. This reflection is
important to understand in the modern world, and this exhibit would help to
spread knowledgeand make real of China’s history and art.
The exhibition would be organized chronologically, with a rough grouping
around the differentdynasties. The collection is unevenly distributed along these
lines however, and more general separations would be required. Dividing up the
pieces by date, with each section composing of approximately 500 years is a
possiblesolution. This means that pieces before 1000 BCE would be together,
pieces from999 BCE- 500 BCE would be together, and so on until 1200 CE,
marking the Mongolian invasion. This would physically show the progression of
Chinese art through time, as the viewer’s movements through the display would
mirror the march of time in Chinese history. The imperial divisions are the Shang
and Zhou Dynasties (1600-1046 BCE, 1046-256BCE); the Han Dynasties (206 BCE-
220 CE); the Tang Dynasty (618-907CE, 907-960 CE); and the Song, Liao, and

35
Great Jin Dynasties (960-1279 CE, 907-1125 CE, 1115-1234CE). This is a
theoretical organization, and many be changed to best fit the exhibition space.
Labels should include title of object, country of origin, Dynasty/Kingdom/
period/ etc., time period, medium (material), a shortone to two sentence
description, donor, and collection number. The description should highlight the
piece’s place in Chinese chronology and should give the piece context or explain
its importance. Larger informationallabels should give information on the
different periods and dynasties of China, and/or how Chineseart has progressed,
changed, and stayed the same over time.
Gaps in the chronology:
 Spring and Autumn period (770 BCE- 476 BCE)
 Warring States period (476 BCE- 221 BCE)
 Qin Dynasty (221 BCE- 206 BCE)
 Xin Dynasty (9 CE- 23 CE)
 Three Kingdoms period (220 CE- 280 CE)
 Jin Dynasties (265 CE- 420 CE)
 Southern and Northern Dynasties period (420 CE- 589 CE)
 Sui Dynasty (581 CE- 618 CE)
 Five Dynasties and Ten Kingdoms period (907 CE- 960 CE)
 Kingdom of Dali (937 CE- 1253 CE)
 Western Xia Dynasty (1038 CE- 1227 CE).
This represents areas that can be added to create a more comprehensive
story of China’s imperial past.
The listing of 30 possibleobjects here is organized by Dynasty and date.
While it would be preferable to organizethe objects chronologically so that the
Shang objects are on one end of the display and the Song objects are on the
other, the physicallimitations make this unlikely. Breaking away fromthe
chronologicalmarch of objects is fine, but should not be altered too much in
order to preventovermixing of objects that could be separated by centuries. By
maintaining a rough chronologicalprogression, theimage and story of China’s
history can be clear.

36
Shang Dynasty (1600 BCE- 1046 BCE)
o ShangDynastyOracle Bone,O-001
 1600-1046 BCE
 Archaicoracle bone withinscriptionsonbothsides.Inaleatherfancase.
 Usedfor divination
 Some of the oldestexamplesof Chineselanguage
 15-1/4” H, 10-1/4” W

o 12th
Century BCE (?) Bronze Vase,M-037
 Chinese Bronze Gu(Ku) Vase.Bronze.Condiiton:Goodexceptforabrasionto
patination.
 Gu vaseswere usedforritualsinthe Shang (1750-1027 BCE) and Zhou1046-256
BCE) dynasties
 12th
centuryBCE puts thisintothe laterpart of the ShangDynasty
o Highperiodof the Bronze Age in China
 Oftenhasa taotie
 Wouldbe duringthe ZhengzhouorAnyangphase
 Onlyone gu vase from Zhengzhouphase
o Tomb inErligang
o Decorsconcentratedonband at the lowerbody
o Crossshapedholesonthe foot
 Anyangphase began14th
centuryBCE withShangcapital movingto Yin
o Changesin gu
 Taller(25.5-31 cm) and mouthwiderthanbottom(14.2
cm

37
 Base raisedwitha short roundfoot
 Decorsextendfromwaisttorim
 Three triangle registers
 Bronzeswere usuallyfully decorated
 Thisgu doesnothave weightordimensionslisted.Noraisedfootordecorations
can be seenfromphoto.SuggestsZhengzhouperiod,butthisseemsincredulous

Western and Eastern Zhou Dynasties (1046 BCE- 771 BCE; 770 BCE- 256 BCE)
o ZhouDynastyceramic vessel,C-072
 1046 BCE- 256 BCE
 A ceramicvessel (cup?) inthe style of Hui Hsienware withall-overredandblack
decorationandwitha circularhandle andbear feet.
 Hui Hsienisa regionof ChinainGansu province,nearTianshui
 4” H, 3-1/2” C

38

o 19th
centuryChinaArchaisticTripodCenser,M-055
 The basic shape of the censeris takenfromthe EasternZhou Dynasty.Ithas
raisedbirds(cranes) andprunusingoldwash/giltdecorationonabronze
ground.The decorative style isassociatedwithHuWenming,whoworkedinthe
late Ming period,andthisvessel islikelyaloose interpretationof hisdistinctive
work.However,the choice of decorative motif - cranedagainstprunus -
indicatesalaterdate.It has three legswithanimal masksandiswithoutalid.
 Made inQingDynasty,but inZhou style
 6” H, 4-3/8” W, 3-3/4” C

Western and Eastern Han Dynasties (206 BCE- 9 CE; 25 CE- 220 CE)
o 2nd
centuryBCE bronze leopard,M-077

39
 A small cast bronze leopard,splitintwomatchinghalves,withcalligraphyon
the surface of itsbody.
 Calligraphymightmean“WithEightStars”
o Leoplardmustbe turnedon itsside (headfacingup) andread
top down
o Yǔ de xīngbā
o 与的星八
o Stars were associatedwithcoinsinAncientChina
 May have beenacharm for goodfortune
 http://primaltrek.com/yinyangfiveelements.html
 Han Dynastyruledforentiretyof 2nd
centuryBCE China
 EmperorWu ruledforalmosthalf of thistime period(r.141-87 BCE)
 2” W

o Han DynastyChinaHan Bronze Vessel,M-1000
 Chinese bronze vessel,Fanghuform.Square incrosssection(base andlid).Sides
are curvedand protruding,meetinginfouredges.Ontwoopposite sides,mid-
upperpart, roundringtype handlesattachedbystylized(dragon)loopholders.
Lid isdomedwithfouredgesanda square flattop.Four finial ornamentsof 1
1/2 highon eachcorner of the lid.FanghuVessel.China.HanDynasty.Bronze.
Giftof Dr. & Mrs. RobertCumming.M-1000. Fanghu(方壶) literallymeans
“square pot.” Fanghuwere usedinritualsinthe earlyBronze Age China
(approximately2000 BCE to 771 BCE),but bythe time of the Han theywere
usedformore practical purposes,mainlywine andcereal storage.Thisfanghu
has a simple shape withasmoothsurface,intricate decorative lid,andring
handleswithataotie (stylizedmythicalanimal mask) design.Italsodisplays
evidence of giltremnants.Thisdesignoriginatedinthe WarringStatesperiod
(475 and 221 BCE), and continuedtobe commoninthe Han period(206 BCE-
220 CE).
 Dr. and Mrs. Robert Cumming
 15 1/2" H, 8-1/2” W, 9-1/2” D

40

o 19th
centuryHan Dynastystyle ceramicjar, C-075
 Chinese Ceramicjarmade tolookbronzed.Measuring13 ½" high. Condition:
Fair.
 Fallsoutside of proposedtime range,butismade toappearlike anolderpiece.
Couldstill be used,butisnotnecessary.

41

Tang Dynasty (618 CE- 907 CE)
o Tang Dynasty(618-907) Bowl,C-202
 Changshabowl of roundedformwitha slightlylippedrim.The interiorisfreely
paintedin rustygreenanddeepbrownwaves,curves,andspiralsframedby
foursmall areasof goldenbrownglaze continuingoverthe lipandontothe
exterior.Changshawaresare usuallyassociatedwiththe paintedbrownand
greenand/orapplique motifsonvesselscoveredwithtransparentglaze.The
colorof the glaze actuallyvariesfroma lightgrayishgreentoa creamyyellowish
white.The glaze couldappeartransparentor translucentandmilky.A white slip
isusuallyappliedtoconceal the coarse bodybefore the glaze isappliedonthe
vessel.The glaze hasatendencytopeel off,especiallyinthose areaspainted
brown.The glaze usuallyhasfine crazings.The paste isusuallygrayish,but
exampleswithbuff- orvaryingbrick-coloredtonescouldalsobe found.
 Declinedafterthe Five Dynasties
 http://gotheborg.com/glossary/changsha.shtml
 2” H, 5-3/4” C

42

o Tang DynastyBowl,C-203
 A straw-glazedbowl,well-pottedwithdeeproundedsides,risingtoaneverted
rim. The crackledglaze coveredhalf of the exteriorandextendedtothe upper
part of the interior. The concave footandthe lowerpartof exteriorleft
unglazed.
 2-3/4” H, 5” C

o Tang DynastyInkstone,S-098
 An inkstone inthe shape of agourd withgraduallyrecessededgesborderingthe
smooth,worngrindingareawitha deeperinkwellatthe top.The sloping
underside hastwosmall feet,partiallycoveredwithrustybrowncolor,stained
burial marks.A fine floral patternisetchedintothe inkwell portion.
 Inkstoneswere usedtogrindandcontainink.Waterand inkstickwere
combinedinthe reservoirof the stone andgroundtogethertocreate usable
ink.
 1” H. 6-1/8” W, 4-1/2” D

43

Liao Dynasty (907 CE- 1125 CE)
o Liao DynastyKendi Ewer,C-220
 A glazedewerwithataperingbody,raisedona flaredflatroof,withalong
roundspout,and witha strap handle attachedtothe tall cylindrical neck,and
coveredwithaglaze of pale-ambercolor.Kendi ewerstypicallyhave a
depressedglobularbodywithatall neck,are flangedunderthe lip,have a
mammaryspoutspringingfromthe shoulder,andaflatbase.
 Locatedin Mongolia,Manchuria,easternRussia,northern Korea,andnorthern
China
 Associatedmore withMongoliathanChina
 Khitanpeople,culturallydifferentfromthe Hanor Jurchenpeoplesof
more contemporaryandmainstreamChina.
 As such,couldbe removedfromexhibit,butwouldbe agooddisplayof
the diversityof peopleinChina,aswell asa goodexample of the non-
rigiddefinitionof what“China”is.China’sbordersandnational identity
has fluctuatedgreatlythroughoutthe years,andthe LiaoDynastyraises
questiononwhatwe considerChinaandChinese.
 907-1125 AD
 7” H, 6-1/2” W, 4-1/2” C

44

o Liao DynastySmall CeramicEwer,C-221.1
 Part of a groupof Three Small CeramicVessels.The taperingbodyof the eweris
raisedona flaredflatfootwithalonground spoutand strap handle attachedto
the tall cylindrical neck,coveredwithaglaze of pale-greencolor.Measuring:2-
7/8” H x 3” W x 2” diam.

o Liao DynastySmall CeramicJarlet,C-221.2
 Part of a groupof Three Small CeramicVessels.The jarletisof aroundedbody
witha taperingneck.Measuring:2-7/8” H x 2-1/4” diam.
 See above
o Liao DynastySmall CeramicEwer,C-221.3
 Part of a groupof Three Small CeramicVessels.The taperingbodyof eweris
raisedona flaredflatfootwithalonground spoutand strap handle attachedto
the tall cylindrical neck,coveredwithaglaze of pale-greencolor.Measuring:3”
H x 3” W x 2-1/8” diam.
 See above
Great Jin Dynasty (1115 CE- 1234 CE)
o Great JinDynastyStorage Jar, C-204

45
 Cizhoustoneware storage jarwithwhite slip coveredbody,delicatelypaintedin
dark brownstrokeswithincircularbordersona creambackground,the interior
withdark brownglaze.Cizhouware isknownforitsvesselswithatransparent
glaze placedovera white-slippedbodyandconsistedprimarilyof inexpensive
waresfor everydayuse.
 JinDynastywas conqueredbyGenghisKhan
 6-1/2” H, 6-1/2” C

o Great JinDynastyBowl,C-205
 A paintedCizhoushallow bowl withwide flaredsidesrisingfromsharpangle
above the shallow footring,freelypaintedonthe interiorwithinthe circular
double line borders,all ona white slipunderaclearglaze.Cizhouware isknown
for itsvesselswithatransparentglaze placedoverawhite-slippedbodyand
consistedprimarilyof inexpensive waresforeverydayuse.
 3” H, 7-3/8” C

46

o Great JinDynastyJar, C-206
 A blackish-brownglazedjarof globularformwithapairof ribbedstraphandles.
The vessel coveredwithalustrousglaze of blackishcolorcontinuingoverthe
short neckand lippedrimtocoverthe interior,thinningtorussetonthe handle
ribsand endinginlowerbodytoexpose the pale fine-grainedstoneware,raised
on a broad-rimmedfoot.
 7-7/8” H, 5” C

Northern and Southern Song Dynasties (960 CE- 1127 CE; 1127 CE- 1279 CE)
o SongDynastyceladonware bowl,C-016
 A celadonware bowl withmoldedlotusleavesonthe exterior.

47
 Two periodsof the SongDynasty:NorthernSong(960 AD-1127 AD) and
SouthernSong(1127 AD-1279 AD)
 2-3/4” H, 6-1/2” C

o SongDynastyStoneware Bowl,C-023
 Chinese Stoneware Bowl.Stoneware withceladonglaze andincisedfloral
motifs.
 6” C

o SongDynastyBowl,C-030
 A deepporcelainbowl standingonalow footring,withsteep,curved,sloping
sides,slightlyevertedliprim.Ithasa stylizedphoenixinlow-relief line-form
moldedonthe exteriorsidesandameanderingbandaroundthe rim.Itis
coatedon the outside withaclear,pale green-ish/grey-ishglaze,whichruns
short above the footandwhichformslarge drops onthe insides.The liprimis
unglazed.
 Donor: JennisGalloway
 2-1/2” H, 6” C

48

o SongDynastyBowl,C-073
 BrownTenmokubowl.Tenmokuisadark glaze that resemblesoil spottingand
ismade of feldspar,limestone,andironoxide.Ittakesitsname froma
mountaintemple inChinawhereiron-glazedbowlswere usedfortea.
 Tenmoku (天目) isthe Japanese term, andthe mountaintemplereferredtoin
the descriptionisthe TianmuMountaintemple inZhejiangprovince,China.The
Chinese termforthisstyle of potteryisJianZhan (建盏) and originates from
Jianzhou prefecture in the Tang Dynasty (618-907) in modern day Fujian.
This style was popular in the Song Dynasty among monks and among tea
drinkers.
 Donor: Dr. F. MillardFoard
 There isreceipt,inventory&appraisal (wasatransferfromACEF)
 2-3/8” H, 4-7/8” C

o SongDynastyQingbai Bowl,C-1000
 A lowQingbai porcelainbowl,withaverymutedceladonglaze thatissmooth
and even,andcomesacrossas a verylighttintof blue-green.Itsinterioris
decoratedwithasubtlyrendered,incised,semi-abstractwave-like pattern.The

49
paste on itsbase confirmsitsage.It has a loanseal from Harvard University
datingfrom1936 but thisis an incidental detail.
 Qingbai referstothe ceramicglaze givingthe lightblue-greentint.Itwasmainly
fromJiangxi province inthe SongandYuan Dynasties
 Harvard UniversityhasanEast AsianArtProgram andseveral exhibitsof Asian
Art at one of three of theirmuseums
 Donor: Mr. & Mrs. StephenC.Walke
 1-3/4” H, 7” C

o SongDynastyEwer,C-201
 A fine Yingqing(Qinbai)ewerwithelegantroundedsidesrisingfromashallow
ringfoot to a narrow evertedrimat the top. The triple-strandhandleis
attachedto the narrow neckopposite tothe spout,coveredwithacracked light
grey-greenglaze.Qinbai ware wasmade usingwhite porcelainwhichwasthen
overlaidwithagreenish-tintedglaze.Muchof Qinbai ware wasusedby
commoners,whichwasunusual duringthisperiod,asmostpotteryfrom this
area wasstrictlyfor imperial use.
 Entry isnotedas 13th
Century.SongDynastyendedin1279. Thisewer
representsthe endof Chinesecontrol overChinauntil the endof Mongol rule.
 6-1/2” H, 6” W, 4” D


50
o SongDynasty Fu Talley,S-085
 Carvedjade Tallyinthe form of a dog,intwo parts.A tallywasan ancient
memoryaiddevice usedtorecordand documentnumbers,quantities,oreven
messages.Tallysticksfirstappearasanimal bonescarvedwithnotches,inthe
Upper Paleolithic.Tallieshave beenusedfornumerouspurposessuchas
messagingandscheduling,andespeciallyinfinancialandlegal transactions,to
the pointof beingcurrency.InancientChina,theywere alsoknownasfuand
were made of bamboo,wood,metal (gold,silver,bronze) orjade andusedas a
proof of authorization.Fucome inmanydifferentshapes,suchasa lion,tiger,
dragon,turtle,snake,fish,human,orlike thisone,adog.
 1-1/4” H, 2” W, 1/2" D

o Late SongDynastyBowl,C-018
 A deepporcelainbowl standingonahigh,narrow foot ring.It hassteep,curving
sides,the exteriorof whichare moldedinlow relief inthe formof lotuspetals.
The inside isdecoratedwithacentral medallionenclosingfourstylizedfloral
forms.It iscoatedinside andoutwithan olive greenceladonglaze;itis
unglazedunderfoot.
 Unclearwhat “Late Song”refersto.Couldbe the SouthernSongDynasty(1127-
1279), or the final yearsof the Songbefore conquestbythe MongolianYuan
Dynasty.
 Donor: JennisGalloway
 2-3/8” H, 6-3/8” C

51

o 12th
Century ChinaDish,C-199
 A Longquanceladontwin-fishdish.The exteriorof the deeproundedsidesis
carvedwitha band of petalsrisingfromthe footto the flatevertedrim, andthe
interiorisdecoratedinthe centerwithtwomoldedfish,coveredoverall witha
glaze of sea-green.Longquanceladonware wastypicallydecoratedbyincision
and wasproducedinkilnsinthe townof LongquaninChina.The celadongreen
glaze isknownforbeingsuperbinquality,thick,andviscous,usuallywithawell-
markednetworkof fine cracks.It wasbelievedthata celadondishwouldbreak
or change color if the foodwithinwaspoisoned,whichcouldaccountforits
popularity.
 Longquanislocatedin Lishui prefecture,Zhejiangprovince
 Large-scale productionbeganduringthe Five Dynastiesperiod(907-960) and
NorthernSongDynasty(960-1127).
 Zhejiangwasunderthe Wuyue kingdom(907-978) duringthe Five
Dynastiesperiod.Became apartof the SongDynasty
 2-1/8” H, 8-5/8” C

o SongDynastyFour Small CeramicVessels,C-207
 A small balusterceladonjarletwithamoldeddragonalongthe neckandflames,
clouds,wind,orfoliage nearthe base overa pale greenceladonglaze;asmall
ribbedcupthat resemblesaseashell,witholive celadonglaze;twosmall
Yingqing(Qingbai)bowlswithcrackle glaze.Measuring:Bowl (A) - 2-1/4” H x 3-

52
3/4” diam.;Bowl (B) - 2” H x 3-3/4” diam.;Cup(C) - 2” H x 3-1/2” diam.;Jarlet
(D) - 2-3/4” H x 3-1/2” diam.
 Listedincollectiondatabase as14th
Century.SongDynastywasconqueredin
1279, inthe 13th
Century.
 Last EmperorHuaizongof Song,Prime MinisterLuXiufu,and800 royal
clan membersforcedtocommitsuicide in1279.
 Kublai Khan’sYuanDynastythentookcontrol overall of China.
RemainingSongimperial familywere allowedtolive,buthadlittle real
or nominal power.
 May refertoSong style inthe YuanDynasty
 May simplybe errorindescription


Exhibition ideas HWS

Recommended

Recommended

More Related Content

What's hot

What's hot (20)

Similar to Exhibition ideas HWS

Similar to Exhibition ideas HWS (20)

Exhibition ideas HWS