Asian Arts & Culture Center Fall 2016 Henry Smith Exhibit ideas to accompany Han Bronze Vessel The purpose of this write up is to provide two ideas for exhibitions that would center on the new acquisition, the Han Dynasty bronze vessel (M-1000). If authentic, this vessel could be 2,200 to 1,800 year old and represents a golden age in Chinese Imperial history. The Han Dynasty solidified the idea of an imperial government developed under the Qin, and lasted for 400 years. Many of the practical ideas of China as a state came from this period, and has been a source of legitimacy and inspiration for virtually every subsequent Chinese state. Much of the Chinese national identity comes from this dynasty, and its importance is paramount to 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. It is made of bronze, which was the dominant metal for a large portion of human history even outside of Asia. Bronze was used in art, war, and common life. Bronze impacted everyone in the ancient world, either at the end of a bronze spear or at the mouth of a bronze cup. It was interwoven into ancient society, and even after the onset of the Iron Age it would maintain an important place. The use of bronze in art cannot be ignored, as the techniques, motifs, and styles developed in China and Asia’s Bronze Age affected the eras after it, and can still be found in the modern world. Understanding the role of bronze in 1
Transcript
Asian Arts & Culture Center Fall 2016 Henry Smith
Exhibit ideas to accompany Han Bronze VesselThe purpose of this write up is to provide two ideas for exhibitions that
would center on the new acquisition, the Han Dynasty bronze vessel (M-1000). If authentic, this vessel could be 2,200 to 1,800 year old and represents a golden age in Chinese Imperial history. The Han Dynasty solidified the idea of an imperial government developed under the Qin, and lasted for 400 years. Many of the practical ideas of China as a state came from this period, and has been a source of legitimacy and inspiration for virtually every subsequent Chinese state. Much of the Chinese national identity comes from this dynasty, and its importance is paramount to 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. It is made of bronze, which was the dominant metal for a large portion of human history even outside of Asia. Bronze was used in art, war, and common life. Bronze impacted everyone in the ancient world, either at the end of a bronze spear or at the mouth of a bronze cup. It was interwoven into ancient society, and even after the onset of the Iron Age it would maintain an important place. The use of bronze in art cannot be ignored, as the techniques, motifs, and styles developed in China and Asia’s Bronze Age affected the eras after it, and can still be found in the modern world. Understanding the role of bronze in military, historic, geographical, social, or, in this case, art is important to understanding Asian culture.
The Han bronze vessel allows 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 bronze piece of art can be emphasized to showcase the use of bronze in wider Asian art and culture.
Possible pieces from the collection that could be used in the exhibition are listed below. Included are the title and collection number of each piece, the collection database description, any of my additional notes or research, donor, dimensions of the piece, and a photo of the piece. The Bronze exhibition ideas start on page 3, and the Ancient China exhibition ideas start on page 34.
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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
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Bronze exhibitionThe Bronze exhibition would look at bronze pieces from throughout Asia to
show the widespread use of the metal in art across space and time. China, India, Thailand, Japan, and Korea are all represented here, with a massive time frame going back to the 12th century BCE up to the 20th century CE, making up over 3,000 years of Asian bronze history. The Bronze Age of Asia dates back to the murky waters of early history to the establishment of empires in the mid-first millennium 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 rise of iron and porcelain, bronze maintained an integral position in Asian life and art, and its importance can still be seen to this day. The diverse functionality of bronze is also shown in this collection. From a humble storage jar to a spiritual representation of the Buddha to ornate statuettes, bronze is used in both everyday life and in artistic and spiritual acts of expression. Several unique styles have been developed for the use of bronze working, and these help us to understand the development and place of bronze art in Asian societies. These style have also dispersed into other mediums, and the effect of bronze art can be seen throughout many 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 Japanese bronzes 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 use of bronze working in Asia. The functions would be everyday use (pots, bowls, kettles), religious use (Buddhist, Confucian, rituals), and artistic representations (warrior figures, mythological creatures, abstract designs).
This can be expanded to other geographic locations in Asia other than the Far East, South, and Southeast. Bronze is a widely used medium, and bronzes
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from other regions and cultures can be easily added to those listed below. This exhibit and the AA&CC tend to focus on Eastern and Southern Asian art, but Bronze offers us an opportunity to include Middle Eastern art from Persia 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 bronze art should the opportunity arise.
Labels should include title of object, country of origin, Dynasty/ Kingdom/ period/ etc., time period, medium (material), a short one to two sentence description, donor, and collection number. The description should highlight the importance of bronze in the piece and give the piece context or explain its importance. Larger informational labels can be used to give more information on the methods of bronze working, and/or, depending on the organization of the exhibition, information on bronze art in the specific countries or the functional uses of bronze art.
The listing of 40 possible objects 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: Good except for abrasion to
patination. Gu vases were used for rituals in the Shang (1750-1027 BCE) and Zhou 1046-256
BCE) dynasties 12th century BCE puts this into the later part of the Shang Dynasty
o High period of the Bronze Age in China Often has a taotie Would be during the Zhengzhou or Anyang phase
Only one gu vase from Zhengzhou phaseo Tomb in Erligango Decors concentrated on band at the lower bodyo Cross shaped holes on the foot
Anyang phase began 14th century BCE with Shang capital moving to Yino Changes in gu
1 Only 38 are available for placement in the vitrines. There are 34 objects currently in the Folk Pottery of Asia exhibit.
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Taller (25.5-31 cm) and mouth wider than bottom (14.2 cm
Base raised with a short round foot Decors extend from waist to rim
Three triangle registers Bronzes were usually fully decorated
This gu does not have weight or dimensions listed. No raised foot or decorations can be seen from photo. Suggests Zhengzhou period, but this seems incredulous
Donor: Mr. & Mrs. R. Austin Tydings Function: Ritual use No dimensions listed
o 2nd century BCE bronze leopard, M-077
A small cast bronze leopard, split in two matching halves, with calligraphy on the surface of its body.
Calligraphy might mean “With Eight Stars”o Leoplard must be turned on its side (head facing up) and read
top downo Yǔ de xīng bāo 与的星八o Stars were associated with coins in Ancient China
May have been a charm for good fortune http://primaltrek.com/yinyangfiveelements.html
Han Dynasty ruled for entirety of 2nd century BCE China Emperor Wu ruled for almost half of this time period (r. 141-87 BCE)
Donor: Joanne and Alan Shecter Function: Everyday use or artistic representation 2” W
o Han Dynasty China Han Bronze Vessel, M-1000
Chinese bronze vessel, Fanghu form. Square in cross section (base and lid). Sides are curved and protruding, meeting in four edges. On two opposite sides, mid-upper part, round ring type handles attached by stylized (dragon) loop holders. Lid is domed with four edges and a square flat top. Four finial ornaments of 1 1/2 high on each corner of the lid. Fanghu Vessel. China. Han Dynasty. Bronze. Gift of Dr. & Mrs. Robert Cumming. M-1000. Fanghu (方壶) literally means “square pot.” Fanghu were used in rituals in the early Bronze Age China (approximately 2000 BCE to 771 BCE), but by the time of the Han they were used for more practical purposes, mainly wine and cereal storage. This fanghu has a simple shape with a smooth surface, intricate decorative lid, and ring handles with a taotie (stylized mythical animal mask) design. It also displays evidence of gilt remnants. This design originated in the Warring States period (475 and 221 BCE), and continued to be common in the Han period (206 BCE-220 CE).
Donor: Dr. and Mrs. Robert Cumming Function: Everyday use or Ritual use 15 1/2" H, 8-1/2” W, 9-1/2” D
Can’t fit in second cabinet
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o Song Dynasty Fu Talley, S-085
Carved jade Tally in the form of a dog, in two parts. A tally was an ancient memory aid device used to record and document numbers, quantities, or even messages. Tally sticks first appear as animal bones carved with notches, in the Upper Paleolithic. Tallies have been used for numerous purposes such as messaging and scheduling, and especially in financial and legal transactions, to the point of being currency. In ancient China, they were also known as fu and were made of bamboo, wood, metal (gold, silver, bronze) or jade and used as a proof of authorization. Fu come in many different shapes, such as a lion, tiger, dragon, turtle, snake, fish, human, or like this one, a dog.
Donor: Howard and Deborah Chasanow Function: Everyday use or artistic representation 1-1/4” H, 2” W, 1/2" D
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o 17th century China Censer, M-091 A bronze censer, realistically modeled after a duck standing on two webbed
feet, supporting a hollow chamber on its back with removable cover in the shape of wings, and the crested head has an open beak.
Donor: Dr. and Mrs. Oliver Foo Function: Artistic representation 7-1/4” H, 2-5’8” W, 4-1/2” D
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o 18th century China Guardian bronze, M-025
Chinese Guardian bronze. Could possibly be a Menshen, literally “Door God.” Placed in entry ways to ward
off evil spirits. Usually paintings or affixed pictures. Almost no examples of sculptures like this piece. Come in pairs, must face each other or else it is considered bad luck.
Donor: Mr. and Mrs. R. Austin Tydings Function: Artistic representation 6 1/2" H
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o 18th Century China teapot, M-039
A melon-shaped cast-iron teapot with a short S-shaped spout, a forged iron bail handle and a bronze lid with flower finial.
Donor: William Furman Function: Everyday use 9” H
o 18th century China Mirror, M-026
A bronze mirror with TLV pattern in the late Han Dynasty style. Besides the traditional pattern of the letters T, L, and V, it has geometric and animal forms and a raised and segmented rosette at the center.
Scholarly debate over the meaning of T, L, and V. Could be symbolic of cosmology or related to the Chinese board game Liubo
Donor: Asian Cultural Exchange Foundation Function: Everyday use or Artistic representation 6" C
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o Circa 1800 China Bronze Mirror, M-027
Bronze mirror. China, late Han dynasty (25-225 AD) style. 6-7/8"diam. Condition: Very good.
Has a square design in the middle, as opposed to the circle design of M-026 Donor: Towson University Foundation (need research for original donor) Function: Everyday use or Artistic representation 6 7/8” C
o 18th or 19th century China Mirror with Stand, M-028
This mirror was made in the style of the Tang Dynasty. The decoration of this mirror is a very rudimentary design of the “lions and grape” theme with a raised and segmented rosette.
Donor: Asian Cultural Exchange Foundation Function: Everyday use or Artistic representation
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5-3/8” H, 3” C
o 19th century Han Dynasty style ceramic jar, C-075
Chinese Ceramic jar made to look bronzed. Measuring 13 ½" high. Condition: Fair.
Donor: Towson University Foundation (need research for original donor) Function: Everyday use Can’t fit in second cabinet
o 19th Century China Vase, I-039
An ivory sculpture mimicking the appearance of an archaic bronze vessel. The vase and lid are carved with elephants, dragons and Taotie masks. A restriction
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requires the credit line to read “From the Collection of Monroe Uris Sarezky A restriction requires the credit line to read “From the Collection of Monroe Uris Sarezky.”.”
Not made of bronze, but crafted in a style common to bronze vases Donor: Monroe Uris Sarezky. A restriction requires the credit line to read “From
the Collection of Monroe Uris Sarezky.” Function: Everyday use or Artistic representation 10-1/4" H
o 19th century China Censer, M-081
A cast bronze censer with a pierced lid decorated with a bamboo leaf motif, which continues onto the sides of the flattened ball body.
Donor: Joanne and Alan Shecter Function: Everyday use 6” H, 3-1/2” C
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o 19th century China Guanyin, O-031
A Guanyin figure cast in bronze and lacquered and painted overall, seated on an ornately carved two-tiered wooden seat in red lacquer with gold color on some of the carvings.
Not entirely bronze. Also has wood and lacquer. Donor: Hsin Hsin Foo Function: Religious use 24-5/8” H, 9-1/2” W, 7-3/4” D
Can’t fit in first or second cabinet
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o Late 19th century China Monk, M-014
A bronze monk figure, with one arm pointing to heaven and the other pointing to earth. This item is listed in the paper files and in FM as a monk but in Excel as a baby Buddha. There is no period/date listed in the paper files, not sure where the 19th century date came from. The date donated field indicates that date that Robert Klein’s objects were delivered to AACC. There is no gift form.
Late 19th century was the declining Qing Dynasty Could be walking or protective Buddha, but seems unlikely Donor: Robert Klein Function: Religious use
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6 3/4" H
o 19th century China Archaistic Tripod Censer, M-055
The basic shape of the censer is taken from the Eastern Zhou Dynasty. It has raised birds (cranes) and prunus in gold wash/gilt decoration on a bronze ground. The decorative style is associated with Hu Wenming, who worked in the late Ming period, and this vessel is likely a loose interpretation of his distinctive work. However, the choice of decorative motif - craned against prunus - indicates a later date. It has three legs with animal masks and is without a lid.
Donor: Howard and Deborah Chasanow Function: Everyday use or Artistic representation 6” H, 4-3/8” W, 3-3/4” C
o 18th Century Tibet Avalokitesvara, M-016
The four-armed aspect of Avalokitesvara is known as Shadakshari Lokesvara. Shadakshari means “six syllables” and refers to the association of the popular Tibetan mantra “om mani padme hum” with Avalokitesvara. The bodhisattva sits in a yogic posture, harnessing the power of meditation. One pair of hands
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expresses the anjali (veneration) mudra, while the others express warding off evil with karana mudras.
Previous Description: Tibetan Avalokitesvara or Bodhisattva of Compassion. Measuring 6 3/4" H. Gilt bronze Avalokitesvara is dressed in the robes and jewelry of a Bodhisattva. The four-armed aspect of the deity is known as Shadakshari Lokesvara. This form of the Bodhisattva is believed to be incarnate in each Dalai Lama. Shadakshari means “six syllables” and refers to the association of the popular Tibetan mantra “om mani padme hum” with Avalokitesvara. Lokesvara means “Lord of the World.” This is possibly an image made in China for Tibetan use or one that shows Chinese influence particularly in the treatment of the scarves and perhaps in the lotus pedestal.
Donor: Mr. & Mrs. R. Austin Tydings Function: Religious use 6 3/4" H, 5" W, 3 3/4" D
India
o 19th century Kashmir Buddha, M-001 This Bronze sculpture of Buddha was made in the 19th century and is made to
mimic the Kashmiri style of the 10th century; these types of Buddhas were made of ungilt metal (such as bronze, copper alloy, or brass) and had distinctive features such as the way his robe is draped over his left shoulder, and the slight protrusion of the chin. The Buddha sits with his hands in dharmachakra (teaching) mudra.
Is made of bronze despite description’s inexplicitness Dharmachakra position symbolizes when he first preached his sermons after his
Enlightenment
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Signifies wisdom, understanding, and fulfilling destiny http://www.lotussculpture.com/mudras.html http://www.thebuddhagarden.com/buddha-poses.html
Durrani Empire (Afghanistan), Punjabi Empire (Sikh), and the Princely State of Kashmir and Jammu (1846-1952, part of the British Empire in India) all ruled Kashmir in the 19th century. Very turbulent time for the region, and a transition into the modern age of colonialism.
Donor: Mr. R. A. Klein Function: Religious use 15” H x 9 3/4” W x 5” D
Can’t fit in second cabinet
o 18th century India Krishna, M-022
Krishna, a manifestation of the Hindu deity, Vishnu, is often depicted as a boy or a man playing the flute. In the Bhagavad Gita, an ancient text that is part of the Indian Mahabharata epic, Krishna teaches the warrior, Arjuna, about the actions and practices required to achieve self-realization. Krishna explains how a yogi should meditate to subdue his mind. He also indicates that through meditation, one can see the Self in the Self by the Self. Previous Description: A bronze musician, a partner to M-023, who appears to be playing the flute or similar instrument, though the instrument is not present. There are incised decorations delineating clothing and apparel. The date donated field indicates that date that Robert Klein’s objects were delivered to AACC. There is no gift form.
Donor: Robert Klein Function: Religious use 11” H, 4 1/4 “ W, 4 1/2” D
A bronze musician, a partner to M-022, appears to be playing hand cymbals or similar instrument, though the instrument is not present. There are incised decorations delineating clothing and apparel. The date donated field indicates that date that Robert Klein’s objects were delivered to AACC. There is no gift form.
Neither of the pair have their instruments Donor: Robert Klein Function: Religious use 10" H
o 19th century India Shiva, M-024
A bronze figure of the great God Shiva, in the Chola style of the 10th century. He is among the most mysterious and complex deity. Worshiped by hundreds of millions of Hindus, Shiva has many manifestations or forms. He is the all-encompassing, the creator, the preserver, the destroyer of the universe, the
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lord of dance, and the benign teacher. In a relatively simple form and an abbreviated fashion, this figure stands relaxed and at ease, leaning on his vehicle Nandi, the Cow (missing here.) The piled-up matted hair shaped in a snake and the vertical third eye - symbol of fire and destruction - are characteristics of images of Shiva.
The Chola Dynasty (300s BCE-1279 CE, imperial dates are 850 CE-1250CE) controlled South India and Sri Lanka and had influence over the extended east coast of India, Bago (Myanmar), the Peninsular Malaysia, Java and Sumatra. The 10th century was a time of expansion. Diplomatic ties with Burma, China, and Malaysia. Changing religious concepts, deities take on public roles: daily rituals, processions, and temple festivals. Sensuous depiction, detailed clothing and jewelry. Created using a wax technique. Bronze working hit a boom during the Chola period. Covered when not in religious use.
o 14th century or later Thailand Walking Buddha, M-002 Thai bronze figure of the walking Buddha, heavily patinated and restored. Walking Buddha’s signifies grace and internal beauty
http://www.thebuddhagarden.com/buddha-poses.html Kingdom of Lavo (450-1388), Kingdom of Sukhothai (1238-1583), Lanna
Kingdom (1292-1775), and Kingdom of Ayutthaya ( 1351-1767) all controlled part of Thailand in the 14th century.
Donor: Asian Cultural Exchange Foundation Function: Religious use 14 7/8" H
Can’t fit in second cabinet
o 14th-15th century Thailand Buddha, M-013
As per Joanna for the Meditaiton exhibition: The Buddha stands with his hands in the abhaya (fearlessness) mudra. He is made in the Sukhothai style. From donor file: Full-length, standing Sukkothai bronze Buddha with hands in vitarka mudra, on a 5” H square wooden base.
Sukhothai was capital of the Sukhothai Kingdom (1238-1583). Influenced by Sri Lankan art Flame on top of head, head covered in oval A flame appeared on top of the head of the Buddha. The head is
covered with fine curled hair. The face is oval, with high curving
eyebrows, a hooked nose, a downward gaze, and overall displays a gentle smiling expression.The body of the Buddha images displays broad shoulders and a small waist. Overall it can be said that the Buddha Images do not appear human, but display idealistic or superhuman characteristics.During the Sukhothai era, the four postures of the Buddha (sitting, standing, walking, reclining) were created. Buddha images of the Sukhothai era are subdivided in several groups. The image right below here displays Phra Phuttha Chinnarat image in Phitsanulok. It belongs to the Phra Phuttha Chinnarat group of images. Notice that the face is more rounded with a flame shaped aureole. The fingers on each hand are of equal length. Sitting Buddha images of the Sukhothai period most often display meditation posture, or the gesture of Subduing Mara. Walking Buddha’s display the gesture of dispelling fear (Abhaya Mudra), or giving instruction (Vitarka Mudra). Sitting Buddha images of the Sukhothai period most often display meditation posture, or the gesture of Subduing Mara. Walking Buddha’s display the gesture of dispelling fear (Abhaya Mudra), or giving instruction (Vitarka Mudra).
o http://www.buddha-images.com/sukhothai.asp o This is standing Buddha, gesture of Forbidding the Relatives
from Fighting. Donor: Robert Klein Function: Religious use 20 3/4" H
Small bronze Thai Buddha head. Donor: Mr. Charles & Muriel Walts Function: Religious use
o Sukhothai period 15th century Thailand Bronze Buddha Head, M-086
Bronze Thai Buddha head. Measuring 10-1/4" H. Expression may suggest the posture of the full Buddha Donor: Mr. Charles & Muriel Walts Function: Religious use
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o Sukhothai period 15th century Thailand Bronze Incense Burner, M-087
Small Thai bronze incense burner. Figure on top of burner seems quadrupedal, with horn or flame coming from
head Photo is inconclusive
Donor: Mr. Charles & Muriel Walts Function: Everyday use 7” H
Korea
o 16th century Korea Bronze Vase, M-038 Korean Bronze vase. Measuring 12-3/8" H. Condition: Dented on one side. Heavy green patina 16th century Korea was a turbulent and violent period
Literature purges under Yeonsanguno Tyrannical ruleo Deposed 1506
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Radical reforms under minister Jo Gwang-joo More economic equalityo Reduction of bureaucrats and corruptiono Opposed by conservative officials
Jo was executed Reforms removed
o Factional struggles for power Sarim faction rebellions
o Japanese invasion 1592-98 Occupied southern art of the peninsula
Hanseong (Seoul) and Pyongyang taken Guerrilla resistance
Admiral Yi Sun-sin Assistance from Ming China
Donor: Towson University Foundation (need research for original donor) Function: Everyday use 12 3/8” H
Can’t fit in second cabinet
o 19th-20th century Korea Gwan-eum, M-015
A bronze figure of Gwan-eum (known in Chinese as Guanyin and in Japanese as Kannon), the Bodhisattva of Compassion, seated on a wooden plank. Her right arm is outstretched and her elbow is resting on her right knee. Her left arm is
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resting in a downward position, where it touches the stand upon which she sits. Beads and jeweled pendants are shown in relief.
Donor: Robert Klein Function: Religious use 24 1/2" H, 16" W
Can’t fit in second cabinet Would have only a half inch of space in first cabinet
Japan
o 19th century Japan Vase, M-049 A copper vase of a flattened baluster form, with cloisonné enamels. It has an
incurved base with small-scaled blue, green, and white flowers. The end panels have a lapis ground on which are two lavender medallions. The wide main panels on each side depict branches of peach blossoms set against a landscape. The vase has an incurved neck with cast bronze handles in the form of peach blossoms.
Only the handles are bronze Role of bronze as secondary in art forms
Donor: William Furman Function: Artistic representation
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15” H, 9” W Can’t fit in second cabinet
o 19th century Japan Pair of Candlesticks, M-070
Two cast bronze pricket candlesticks with a bright brown patina. They sit on tripod bases, have masked knees, and urn-form shaft centers with elephant-form handles. Their tops have flat-rimmed drip plates with pricets (simple spikes) on which to impale candles.
Donor: Joanne and Alan Shecter Function: Everyday use 9” H, 2-1/2” C
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o 19th century Japan Dragon Urn, M-080
A cast bronze triple gourd urn on a round footed and collared base. A dragon climbs around the body of urn. Panels of a wave motif decorate the body.
Donor: Joanne and Alan Shecter Function: Artistic representation or everyday use 10-1/2” H
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o Late 19th-century Japan Guanyin Bronze, M-045
Japanese Guanyin Bronze. Measuring 15 1/4” x 7” x 3 1/2” (without stand) Buddhist bodhisattva
“Goddess of Mercy” Called Kannon 観音 in Japanese
Donor: Mr. & Ms. William E. Ward Function: Religious use 15 1/4” H, 7” W, 3 1/2” D (without stand)
Can’t fit in second cabinet
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o Late 19th century Japan bronze samurai horse, M-065
Bronze of Samurai on Horse. Measuring 22" H x 24-1/2" W. Condition: Good except for one loss of metal.
Donor: Towson University Foundation (need research for original donor) Function: Artistic representation Can’t fit in second cabinet
Only two and a half inches of space (length) in fifth cabinet
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o Unattributed Bronze, M-066
10 Kinkozan cups and bronzes, impressed signature circa 1890 (Donor: Philip and Michelle Chenoweth)
Kinkozan refers to the pottery family and factory Active 1645-1927 Exported to America Subsection of Satsuma wares
Donor: Philip and Michelle Chenoweth Function: Everyday use No photo
o Meiji Period Japan Bronze, M-096 Guardian of the South, one of four Buddhist guardians (shitenno) assigned to
each of the four major cardinal directions. Measuring 33-1/4" including lance. An important bronze sculpture finely cast. Condition: Excellent except the blade of the lance is bent. (Donor: Ms. Sharon L. Barton, 2011).
Donor: Towson University Foundation (need research for original donor) Function: Artistic representation Can’t fit in first or second cabinet
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o Meiji Period Late 19th-early 20th century Japan Usubata Vase, M-092
A two-piece bronze Usubata form vase for Ikebana, or flower arranging. The body is of a bulbous form with a wide, tapering flat rim, and with handles to either side of the neck. A two-piece bronze Usubata form vase for Ikebana, or flower arranging. The body is of a bulbous form with a wide, tapering flat rim, and with handles to either side of the neck. A mountainous, cliffside waterfront scene is incised into one side of the main body of the vase, showing a large temple (?) under a tree being approached by a sailboat, with another temple on a cliff in the background. The temples and the boat have a light gold color applied to them. It appears as if the leaves on the tree also were all originally painted, but only the leaves of the lowest left branches still show traces of gold. The handles appear to have faces on them, perhaps serpents or dragons. The vessel stands on three carved legs. The top part is without any decoration.
Redundancy is included in collection report. Donor: Hsin Hsin Foo Function: Artistic representation and everyday use 9-3/4” H, 11-1/2” C
Only a half inch to less than half an inch of depth space in all cabinets due to lid
o Could be placed separately on its side
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o 20th century Japan Bronze Urn, M-033
Japanese bronze urn with dragon on base. Measuring 6' high. Condition: Good. Figure on the top of piece. Holding something, might be a vase. Seems to be in
the Chinese style A scene is depicted on the urn door and section above the dragon. Unclear what
the scene is depicting. Towson University Foundation (need research for original donor) Function: Artistic representation or everyday use 6’ H
Can’t fit in cabinets
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o 20th century Japan Bronze Bowl, M-034
Japanese bronze bowl signed by the artist, Okasaki Sessei, with a dragon. Exhibited in 1904 at the St. Louis "Louisiana Purchase Exbosition". Okazaki was known as one of three outstanding metalwork masters and worked in the Imperial Court. He was the first to produce collossal-sized bronze castings in Japan. Measuring 5' 7" high. (At the Walters Art Gallery)
I could not find this piece in the Walter Art Gallery Collections. It is currently on display, but not listed online. It also does not mention whether the AA&CC are the actual owners of this piece, or if the WAM own it.
Donor: Towson University Foundation (need research for original donor) Function: Artistic representation Can’t fit in cabinets
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o Unattributed bronze vase, M-063 Large bronze vase with cloisonné décor. Measuring 11-3/4" H.
Only a quarter-inch of space in second cabinet Cloisonné usually used with Japanese art Geometric, abstract design Donor: Mr. Charles & Muriel Walts Function: Everyday use
May be modern
Cambodia
o 20th century Cambodia 6 Woodblock Prints, P-098.2 Standing Musician playing Chhing, (Chhing: a set of bronze hand- cymbals.
Provides a steady pulse for the ensemble preventing musicians from getting lost amidst diverse renditions of a tune). Green, Brown, and Orange Painting on Paper.
Features the use of bronze, in this case had-cymbals. Donor: Phyllis K. and A. Harvey Schreter Function: Artistic representation 22” H, 12-3/4” W
Can’t fit in second cabinet No photograph available
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Ancient China exhibitionThe Ancient China exhibition would look at Chinese art pieces from before the
Mongolian Invasion, or from the Song Dynasty and before. This exhibition would take a chronological look at the long history of Chinese art across the millennia. From the 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 have laid 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-gone world. The realities and practices of the past are often shrouded in mystery and distance, but this exhibit would help bring the lives and achievements of both the most humble 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 knowledge and make real of China’s history and art.
The exhibition would be organized chronologically, with a rough grouping around the different dynasties. 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 possible solution. This means that pieces before 1000 BCE would be together, pieces from 999 BCE- 500 BCE would be together, and so on until 1200 CE,
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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, 1046-256 BCE); the Han Dynasties (206 BCE-220 CE); the Tang Dynasty (618-907 CE, 907-960 CE); and the Song, Liao, and Great Jin Dynasties (960-1279 CE, 907-1125 CE, 1115-1234 CE). 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 short one 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 informational labels should give information on the different periods and dynasties of China, and/or how Chinese art 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 possible objects here is organized by Dynasty and date. While it would be preferable to organize the objects chronologically so that the Shang objects are on one end of the display and the Song objects are on the other, the physical limitations make this unlikely. Breaking away from the chronological march of objects is fine, but should not be altered too much in
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order to prevent overmixing of objects that could be separated by centuries. By maintaining a rough chronological progression, the image and story of China’s history can be clear.
Shang Dynasty (1600 BCE- 1046 BCE)
o Shang Dynasty Oracle Bone, O-001 1600-1046 BCE Archaic oracle bone with inscriptions on both sides. In a leather fan case. Used for divination Some of the oldest examples of Chinese language Donor: Asian Cultural Exchange Foundation 15-1/4” H, 10-1/4” W
Can’t fit in second cabinet
o 12th Century BCE (?) Bronze Vase, M-037
Chinese Bronze Gu (Ku) Vase. Bronze. Condiiton: Good except for abrasion to patination.
Gu vases were used for rituals in the Shang (1750-1027 BCE) and Zhou 1046-256 BCE) dynasties
12th century BCE puts this into the later part of the Shang Dynastyo High period of the Bronze Age in China
Often has a taotie Would be during the Zhengzhou or Anyang phase
Only one gu vase from Zhengzhou phaseo Tomb in Erligang
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o Decors concentrated on band at the lower bodyo Cross shaped holes on the foot
Anyang phase began 14th century BCE with Shang capital moving to Yino Changes in gu
Taller (25.5-31 cm) and mouth wider than bottom (14.2 cm
Base raised with a short round foot Decors extend from waist to rim
Three triangle registers Bronzes were usually fully decorated
Donor: Mr. & Mrs. R. Austin Tydings This gu does not have weight or dimensions listed. No raised foot or decorations
can be seen from photo. Suggests Zhengzhou period, but this seems incredulous
Western and Eastern Zhou Dynasties (1046 BCE- 771 BCE; 770 BCE- 256 BCE)
o Zhou Dynasty ceramic vessel, C-072 1046 BCE- 256 BCE A ceramic vessel (cup?) in the style of Hui Hsien ware with all-over red and black
decoration and with a circular handle and bear feet. Hui Hsien is a region of China in Gansu province, near Tianshui
Donor: Asian Cultural Exchange Foundation 4” H, 3-1/2” C
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o 19th century China Archaistic Tripod Censer, M-055
The basic shape of the censer is taken from the Eastern Zhou Dynasty. It has raised birds (cranes) and prunus in gold wash/gilt decoration on a bronze ground. The decorative style is associated with Hu Wenming, who worked in the late Ming period, and this vessel is likely a loose interpretation of his distinctive work. However, the choice of decorative motif - craned against prunus - indicates a later date. It has three legs with animal masks and is without a lid.
Made in Qing Dynasty, but in Zhou style Donor: Howard and Deborah Chasanow 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 century BCE bronze leopard, M-077
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A small cast bronze leopard, split in two matching halves, with calligraphy on the surface of its body.
Calligraphy might mean “With Eight Stars”o Leoplard must be turned on its side (head facing up) and read
top downo Yǔ de xīng bāo 与的星八o Stars were associated with coins in Ancient China
May have been a charm for good fortune http://primaltrek.com/yinyangfiveelements.html
Han Dynasty ruled for entirety of 2nd century BCE China Emperor Wu ruled for almost half of this time period (r. 141-87 BCE)
Donor: Joanne and Alan Shecter 2” W
o Han Dynasty China Han Bronze Vessel, M-1000
Chinese bronze vessel, Fanghu form. Square in cross section (base and lid). Sides are curved and protruding, meeting in four edges. On two opposite sides, mid-upper part, round ring type handles attached by stylized (dragon) loop holders. Lid is domed with four edges and a square flat top. Four finial ornaments of 1 1/2 high on each corner of the lid. Fanghu Vessel. China. Han Dynasty. Bronze. Gift of Dr. & Mrs. Robert Cumming. M-1000. Fanghu (方壶) literally means “square pot.” Fanghu were used in rituals in the early Bronze Age China (approximately 2000 BCE to 771 BCE), but by the time of the Han they were used for more practical purposes, mainly wine and cereal storage. This fanghu has a simple shape with a smooth surface, intricate decorative lid, and ring handles with a taotie (stylized mythical animal mask) design. It also displays evidence of gilt remnants. This design originated in the Warring States period (475 and 221 BCE), and continued to be common in the Han period (206 BCE-220 CE).
Dr. and Mrs. Robert Cumming 15 1/2" H, 8-1/2” W, 9-1/2” D
o 19th century Han Dynasty style ceramic jar, C-075
Chinese Ceramic jar made to look bronzed. Measuring 13 ½" high. Condition: Fair.
Falls outside of proposed time range, but is made to appear like an older piece. Could still be used, but is not necessary.
Donor: Towson University Foundation (need research for original donor) Can’t fit in second cabinet
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Tang Dynasty (618 CE- 907 CE)
o Tang Dynasty (618-907) Bowl, C-202 Changsha bowl of rounded form with a slightly lipped rim. The interior is freely
painted in rusty green and deep brown waves, curves, and spirals framed by four small areas of golden brown glaze continuing over the lip and onto the exterior. Changsha wares are usually associated with the painted brown and green and/or applique motifs on vessels covered with transparent glaze. The color of the glaze actually varies from a light grayish green to a creamy yellowish white. The glaze could appear transparent or translucent and milky. A white slip is usually applied to conceal the coarse body before the glaze is applied on the vessel. The glaze has a tendency to peel off, especially in those areas painted brown. The glaze usually has fine crazings. The paste is usually grayish, but examples with buff- or varying brick-colored tones could also be found.
Declined after the Five Dynasties http://gotheborg.com/glossary/changsha.shtml Donor: Dr. and Mrs. Oliver Foo 2” H, 5-3/4” C
A straw-glazed bowl, well-potted with deep rounded sides, rising to an everted rim. The crackled glaze covered half of the exterior and extended to the upper part of the interior. The concave foot and the lower part of exterior left unglazed.
Donor: Dr. and Mrs. Oliver Foo 2-3/4” H, 5” C
o Tang Dynasty Inkstone, S-098
An inkstone in the shape of a gourd with gradually recessed edges bordering the smooth, worn grinding area with a deeper inkwell at the top. The sloping underside has two small feet, partially covered with rusty brown color, stained burial marks. A fine floral pattern is etched into the inkwell portion.
Inkstones were used to grind and contain ink. Water and inkstick were combined in the reservoir of the stone and ground together to create usable ink.
Donor: Dr. and Mrs. Oliver Foo 1” H. 6-1/8” W, 4-1/2” D
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Liao Dynasty (907 CE- 1125 CE)
o Liao Dynasty Kendi Ewer, C-220 A glazed ewer with a tapering body, raised on a flared flat roof, with a long
round spout, and with a strap handle attached to the tall cylindrical neck, and covered with a glaze of pale-amber color. Kendi ewers typically have a depressed globular body with a tall neck, are flanged under the lip, have a mammary spout springing from the shoulder, and a flat base.
Located in Mongolia, Manchuria, eastern Russia, northern Korea, and northern China
Associated more with Mongolia than China Khitan people, culturally different from the Han or Jurchen peoples of
more contemporary and mainstream China. As such, could be removed from exhibit, but would be a good display of
the diversity of people in China, as well as a good example of the non-rigid definition of what “China” is. China’s borders and national identity has fluctuated greatly throughout the years, and the Liao Dynasty raises question on what we consider China and Chinese.
907-1125 AD Donor: Hsin Hsin Foo 7” H, 6-1/2” W, 4-1/2” C
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o Liao Dynasty Small Ceramic Ewer, C-221.1
Part of a group of Three Small Ceramic Vessels. The tapering body of the ewer is raised on a flared flat foot with a long round spout and strap handle attached to the tall cylindrical neck, covered with a glaze of pale-green color. Measuring: 2-7/8” H x 3” W x 2” diam.
Donor: Hsin Hsin Foo
o Liao Dynasty Small Ceramic Jarlet, C-221.2
Part of a group of Three Small Ceramic Vessels. The jarlet is of a rounded body with a tapering neck. Measuring: 2-7/8” H x 2-1/4” diam.
See aboveo Liao Dynasty Small Ceramic Ewer, C-221.3
Part of a group of Three Small Ceramic Vessels. The tapering body of ewer is raised on a flared flat foot with a long round spout and strap handle attached to the tall cylindrical neck, covered with a glaze of pale-green color. Measuring: 3” H x 3” W x 2-1/8” diam.
See above
Great Jin Dynasty (1115 CE- 1234 CE)
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o Great Jin Dynasty Storage Jar, C-204 Cizhou stoneware storage jar with white slip covered body, delicately painted in
dark brown strokes within circular borders on a cream background, the interior with dark brown glaze. Cizhou ware is known for its vessels with a transparent glaze placed over a white-slipped body and consisted primarily of inexpensive wares for everyday use.
Jin Dynasty was conquered by Genghis Khan Donor: Dr. and Mrs. Oliver Foo 6-1/2” H, 6-1/2” C
o Great Jin Dynasty Bowl, C-205 A painted Cizhou shallow bowl with wide flared sides rising from sharp angle
above the shallow foot ring, freely painted on the interior within the circular double line borders, all on a white slip under a clear glaze. Cizhou ware is known for its vessels with a transparent glaze placed over a white-slipped body and consisted primarily of inexpensive wares for everyday use.
Donor: Dr. and Mrs. Oliver Foo 3” H, 7-3/8” C
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o Great Jin Dynasty Jar, C-206
A blackish-brown glazed jar of globular form with a pair of ribbed strap handles. The vessel covered with a lustrous glaze of blackish color continuing over the short neck and lipped rim to cover the interior, thinning to russet on the handle ribs and ending in lower body to expose the pale fine-grained stoneware, raised on a broad-rimmed foot.
Donor: Dr. and Mrs. Oliver Foo 7-7/8” H, 5” C
Northern and Southern Song Dynasties (960 CE- 1127 CE; 1127 CE- 1279 CE)
o Song Dynasty celadon ware bowl, C-016 A celadon ware bowl with molded lotus leaves on the exterior.
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Two periods of the Song Dynasty: Northern Song (960 AD-1127 AD) and Southern Song (1127 AD-1279 AD)
Donor: Asian Cultural Exchange Foundation 2-3/4” H, 6-1/2” C
o Song Dynasty Stoneware Bowl, C-023
Chinese Stoneware Bowl. Stoneware with celadon glaze and incised floral motifs.
Donor: Towson University Foundation (need research for original donor) 6” C
o Song Dynasty Bowl, C-030
A deep porcelain bowl standing on a low foot ring, with steep, curved, sloping sides, slightly everted lip rim. It has a stylized phoenix in low-relief line-form molded on the exterior sides and a meandering band around the rim. It is coated on the outside with a clear, pale green-ish/grey-ish glaze, which runs short above the foot and which forms large drops on the insides. The lip rim is unglazed.
Donor: Jennis Galloway 2-1/2” H, 6” C
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o Song Dynasty Bowl, C-073
Brown Tenmoku bowl. Tenmoku is a dark glaze that resembles oil spotting and is made of feldspar, limestone, and iron oxide. It takes its name from a mountain temple in China where iron-glazed bowls were used for tea.
Tenmoku (天目) is the Japanese term, and the mountain temple referred to in the description is the Tianmu Mountain temple in Zhejiang province, China. The Chinese term for this style of pottery is Jian Zhan (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. Millard Foard There is receipt, inventory & appraisal (was a transfer from ACEF)
2-3/8” H, 4-7/8” C
o Song Dynasty Qingbai Bowl, C-1000
A low Qingbai porcelain bowl, with a very muted celadon glaze that is smooth and even, and comes across as a very light tint of blue-green. Its interior is decorated with a subtly rendered, incised, semi-abstract wave-like pattern. The
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paste on its base confirms its age. It has a loan seal from Harvard University dating from 1936 but this is an incidental detail.
Qingbai refers to the ceramic glaze giving the light blue-green tint. It was mainly from Jiangxi province in the Song and Yuan Dynasties
Harvard University has an East Asian Art Program and several exhibits of Asian Art at one of three of their museums
Donor: Mr. & Mrs. Stephen C. Walke 1-3/4” H, 7” C
o Song Dynasty Ewer, C-201
A fine Yingqing (Qinbai) ewer with elegant rounded sides rising from a shallow ring foot to a narrow everted rim at the top. The triple-strand handle is attached to the narrow neck opposite to the spout, covered with a cracked light grey-green glaze. Qinbai ware was made using white porcelain which was then overlaid with a greenish-tinted glaze. Much of Qinbai ware was used by commoners, which was unusual during this period, as most pottery from this area was strictly for imperial use.
Entry is noted as 13th Century. Song Dynasty ended in 1279. This ewer represents the end of Chinese control over China until the end of Mongol rule.
Donor: Dr. and Mrs. Oliver Foo 6-1/2” H, 6” W, 4” D
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o Song Dynasty Fu Talley, S-085
Carved jade Tally in the form of a dog, in two parts. A tally was an ancient memory aid device used to record and document numbers, quantities, or even messages. Tally sticks first appear as animal bones carved with notches, in the Upper Paleolithic. Tallies have been used for numerous purposes such as messaging and scheduling, and especially in financial and legal transactions, to the point of being currency. In ancient China, they were also known as fu and were made of bamboo, wood, metal (gold, silver, bronze) or jade and used as a proof of authorization. Fu come in many different shapes, such as a lion, tiger, dragon, turtle, snake, fish, human, or like this one, a dog.
Donor: Howard and Deborah Chasanow 1-1/4” H, 2” W, 1/2" D
o Late Song Dynasty Bowl, C-018
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A deep porcelain bowl standing on a high, narrow foot ring. It has steep, curving sides, the exterior of which are molded in low relief in the form of lotus petals. The inside is decorated with a central medallion enclosing four stylized floral forms. It is coated inside and out with an olive green celadon glaze; it is unglazed underfoot.
Unclear what “Late Song” refers to. Could be the Southern Song Dynasty (1127-1279), or the final years of the Song before conquest by the Mongolian Yuan Dynasty.
Donor: Jennis Galloway 2-3/8” H, 6-3/8” C
o 12th Century China Dish, C-199
A Longquan celadon twin-fish dish. The exterior of the deep rounded sides is carved with a band of petals rising from the foot to the flat everted rim, and the interior is decorated in the center with two molded fish, covered overall with a glaze of sea-green. Longquan celadon ware was typically decorated by incision and was produced in kilns in the town of Longquan in China. The celadon green glaze is known for being superb in quality, thick, and viscous, usually with a well-marked network of fine cracks. It was believed that a celadon dish would break or change color if the food within was poisoned, which could account for its popularity.
Longquan is located in Lishui prefecture, Zhejiang province Large-scale production began during the Five Dynasties period (907-960) and
Northern Song Dynasty (960-1127). Zhejiang was under the Wuyue kingdom (907-978) during the Five
Dynasties period. Became a part of the Song Dynasty Donor: Dr. and Mrs. Oliver Foo 2-1/8” H, 8-5/8” C
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o Song Dynasty Four Small Ceramic Vessels, C-207
A small baluster celadon jarlet with a molded dragon along the neck and flames, clouds, wind, or foliage near the base over a pale green celadon glaze; a small ribbed cup that resembles a seashell, with olive celadon glaze; two small Yingqing (Qingbai) bowls with crackle glaze. Measuring: Bowl (A) - 2-1/4” H x 3-3/4” 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.
Listed in collection database as 14th Century. Song Dynasty was conquered in 1279, in the 13th Century.
Last Emperor Huaizong of Song, Prime Minister Lu Xiufu, and 800 royal clan members forced to commit suicide in 1279.
Kublai Khan’s Yuan Dynasty then took control over all of China. Remaining Song imperial family were allowed to live, but had little real or nominal power.
May refer to Song style in the Yuan Dynasty May simply be error in description
