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拍品專文
Acquired in July 1991 by the present owner.
Compare with several other important published fanglei with minor varients in decoration. One of the closest examples lacking a roundel border at the shoulder is in the Hakutsuru Art Museum, Kobe, and is illustrated in Hakutsuru Eika, pl. 15; one in the Nezu Art Museum, Tokyo, illustrated in Sekai Bijitsu Zenshu, vol. 12, no. 21; another without roundels and with notched flanges is in the Museum fur Volkerkunde, Munich, is illustrated by R. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, pl. 109, fig. 139; another one was included in the Metropolitan Museum of Art exhibition Spirit and Ritual, The Morse Collection of Ancient Chinese Art, New York, 1982, illustrated in the Catalogue, pl. 10 and no. 3, and sold in London 10 June 1986, lot 42, the Morse fanglei has a single ram's head to each face set upon a bird-like body and is missing the central flange; another with large whorls flanking the central bovine masks and handles at the shoulder in the Art Institute of Chicago is illustrated by Charles Kelley and Ch'en Meng-Chia in Chinese Bronzes from the Buckingham Collection, no. 28; and the example from the estate of Joseph J. Schedel sold in our New York Rooms, 2 December 1989, lot 23.
Jessica Rawson and Emma Bunker discuss the Morse fanglei in the Hong Kong OCS exbition Ancient Chinese and Ordos Bronzes, 1990, catalogue, no. 15, and state "Fang lei, being among the most elaborate of all ritual vessels, were probably also among the most rare. They have only occasionally been found in tombs. Surviving examples probably came from royal tombs or from those of high-ranking officials. The sequence of highly decorated examples dating from the middle Anyang to the early Western Zhou illustrates the continuous use of highly decorated vessels, despite the growing importance of rounded vessels with only limited bands of decoration."
The pictogram on both the cover and inner neck depicts a two horse chariot and a man running. A similar inscription on a jia in the Nelson Gallery, Kansas City, is illustrated by Barnard and Cheung, Rubbings and Hand Copies of Bronze Inscriptions in Chinese, Japanese, European, American and Australian Collections, vol. 9, p. 871, no. 1598. Related pictograms of chariots can be seen on a Shang dynasty gu in the Freer Gallery illustrated in The Freer Chinese Bronzes, vol. I, p. 67; and on a gu from the Cunliffe Collection illustrated by W. Watson, Ancient Chinese Bronzes, London, 1977, p. 70, fig. 5(4).
Compare with several other important published fanglei with minor varients in decoration. One of the closest examples lacking a roundel border at the shoulder is in the Hakutsuru Art Museum, Kobe, and is illustrated in Hakutsuru Eika, pl. 15; one in the Nezu Art Museum, Tokyo, illustrated in Sekai Bijitsu Zenshu, vol. 12, no. 21; another without roundels and with notched flanges is in the Museum fur Volkerkunde, Munich, is illustrated by R. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, pl. 109, fig. 139; another one was included in the Metropolitan Museum of Art exhibition Spirit and Ritual, The Morse Collection of Ancient Chinese Art, New York, 1982, illustrated in the Catalogue, pl. 10 and no. 3, and sold in London 10 June 1986, lot 42, the Morse fanglei has a single ram's head to each face set upon a bird-like body and is missing the central flange; another with large whorls flanking the central bovine masks and handles at the shoulder in the Art Institute of Chicago is illustrated by Charles Kelley and Ch'en Meng-Chia in Chinese Bronzes from the Buckingham Collection, no. 28; and the example from the estate of Joseph J. Schedel sold in our New York Rooms, 2 December 1989, lot 23.
Jessica Rawson and Emma Bunker discuss the Morse fanglei in the Hong Kong OCS exbition Ancient Chinese and Ordos Bronzes, 1990, catalogue, no. 15, and state "Fang lei, being among the most elaborate of all ritual vessels, were probably also among the most rare. They have only occasionally been found in tombs. Surviving examples probably came from royal tombs or from those of high-ranking officials. The sequence of highly decorated examples dating from the middle Anyang to the early Western Zhou illustrates the continuous use of highly decorated vessels, despite the growing importance of rounded vessels with only limited bands of decoration."
The pictogram on both the cover and inner neck depicts a two horse chariot and a man running. A similar inscription on a jia in the Nelson Gallery, Kansas City, is illustrated by Barnard and Cheung, Rubbings and Hand Copies of Bronze Inscriptions in Chinese, Japanese, European, American and Australian Collections, vol. 9, p. 871, no. 1598. Related pictograms of chariots can be seen on a Shang dynasty gu in the Freer Gallery illustrated in The Freer Chinese Bronzes, vol. I, p. 67; and on a gu from the Cunliffe Collection illustrated by W. Watson, Ancient Chinese Bronzes, London, 1977, p. 70, fig. 5(4).