Lot Essay
The result of thermoluminescence test, Oxford 666w28, is consistent with the dating of this lot
A number of closely related hu have been published. All have a similar arrangement of the ornament including wave patterns around the neck and foot and a large mask on the body divided by pronounced vertical bands. Only two have elephant handles, including one sold in our New York Rooms, 2 June 1989, lot 99, illustrated in Sekai Kokogagu Taikei, vol.I, pl.137 and another, without its cover and with more naturalistically modelled handles, from the Palace Museum illustrated in Beijing Gugong Bowuguan, 1982, pl.37. For the example in the Idemitsu Museum, Tokyo, where the elephant handles are replaced by stylised antlers, cf. the Idemitsu Museum of Arts, The 15th Anniversary Catalogue, 1981, pl.1064. Another example from the Freer Collection in the Arthur Sackler Museum, Washington, is illustrated by Pope et al., The Freer Bronzes, vol.I, Catalogue no.76.
In the middle of the Western Zhou period, the taotie mask and zoomorphic motifs that play such a significant role in Shang Dynasty bronze ornament can be seen to disintegrate. On this hu the mask is split in half and the elements spread apart. At the same time abstract ornamental elements (e.g., the wavy lines and scale-like patterns) become increasingly important, the present lot being an example of this transitional process
A number of closely related hu have been published. All have a similar arrangement of the ornament including wave patterns around the neck and foot and a large mask on the body divided by pronounced vertical bands. Only two have elephant handles, including one sold in our New York Rooms, 2 June 1989, lot 99, illustrated in Sekai Kokogagu Taikei, vol.I, pl.137 and another, without its cover and with more naturalistically modelled handles, from the Palace Museum illustrated in Beijing Gugong Bowuguan, 1982, pl.37. For the example in the Idemitsu Museum, Tokyo, where the elephant handles are replaced by stylised antlers, cf. the Idemitsu Museum of Arts, The 15th Anniversary Catalogue, 1981, pl.1064. Another example from the Freer Collection in the Arthur Sackler Museum, Washington, is illustrated by Pope et al., The Freer Bronzes, vol.I, Catalogue no.76.
In the middle of the Western Zhou period, the taotie mask and zoomorphic motifs that play such a significant role in Shang Dynasty bronze ornament can be seen to disintegrate. On this hu the mask is split in half and the elements spread apart. At the same time abstract ornamental elements (e.g., the wavy lines and scale-like patterns) become increasingly important, the present lot being an example of this transitional process