Historical period(s)
Western Han dynasty, 2nd century BCE
Medium
Bronze
Dimensions
Diam x D: 18.6 x 1 cm (7 5/16 x 3/8 in)
Geography
China
Credit Line
Purchase — Charles Lang Freer Endowment
Accession Number
F1935.13
On View Location
Currently not on view
Classification(s)
Metalwork, Mirror
Type

Mirror

Keywords
casting, China, qin, Western Han dynasty (206 BCE - 9 CE), WWII-era provenance
Provenance

From at least 1934 to 1935
C. T. Loo, Paris from at least 1934 [1]

From 1935
Freer Gallery of Art, purchased from C.T. Loo & Company, New York on March 23, 1935 [2]

Notes:

[1] Olov Jansen, "Le style du Houai et ses affinités; notes à propos de quelques objects de la collection David-Weill," Revue des Arts Asiatiques: Annales du Musée Guimet vol. 8, no. 3 (1934), pp. 146, 180, pl. 57, listed as "Collection C. T. Loo, Paris."

[2] See C. T. Loo's invoice dated March 23, 1935, copy in object file. The invoice was issued by C. T. Loo's New York gallery.

Previous Owner(s)

C.T. Loo & Company active 1908-1950

Published References
  • Jenny F. So. Music in the Age of Confucius. Exh. cat. Washington and Seattle. p. 31, fig. 1.13.
  • compiled by the staff of the Freer Gallery of Art. A Descriptive and Illustrative Catalogue of Chinese Bronzes: Acquired During the Administration of John Ellerton Lodge. Oriental Studies Series, no. 3 Washington, 1946. p. 37, pl. 68.
  • Chugoku bijutsu (Chinese Art in Western Collections). 5 vols., Tokyo, 1972-1973. pl. 81.
  • Hai wai i chen (Chinese Art in Overseas Collections). Taipei, 1985. vol. 2, p. 200.
  • Ingrid Furniss. Music in Ancient China: An Archaeological and Art Historical Study of Strings, Winds, and Drums During the Eastern Zhou and Han Periods (770 BCE-220 CE). Amherst, NY. p. 86.
  • Olov Jansen. Le Style du Houai et ses Affinites: Notes a Propos de quelques objects de la collection David-Weill. vol. 8, no. 3 Paris. pp. 146, 180, pl. 57.
  • Bernhard Karlgren. Early Chinese Mirror Inscriptions. vol. 6 Stockholm. p. 26.
  • Bernhard Karlgren. Huai and Han. no. 13 Stockholm. p. 92, pl. 56, fig. 17.
  • Michele Pirazzoli-t'Serstevens. The Han Dynasty. New York. p. 73.
  • Shou-Chien Shih. Eremitism in Landscape Paintings by Chien Hsuan (ca. 1235-before 1307). Ann Arbor. fig. 1.
  • Smithsonian Institution. Annual Report of the Board of Regents of the Smithsonian Institution, 1935. Washington, 1935-1936. appendix 3, pl. 2.
  • Smithsonian Institution. Report of the Secretary, 1935. Washington, 1935-1936. pl. 2.
  • Alexander Coburn Soper. Life Motion and the Sense of Space in Early Chinese Representational Art. vol. 30, no. 3 New York. pp. 170-173, fig. 1.
  • Michael Sullivan. On the Origin of Landscape Representation in Chinese Art. vol. 7 Honolulu. opp. p. 57, fig. 21.
  • Sueji Umehara. Kan izen no kokyo no kenkyu (L'Etude sur le Miroir Anterieur a la Dynastie des Han). Kyoto. pp. 7-8, 27-32, pl. 30, fig. 2.
  • Sueji Umehara. Shina kokogaku ronko (Studies in Chinese Archaeology). Showa 13 Tokyo, 1938-1940. p. 254.
  • William Watson. The Art of Dynastic China. New York, 1981. ill. 288.
  • William Willetts. Foundations of Chinese Art from Neolithic Pottery to Modern Architecture. New York, 1965. p. 163.
  • Henri Maspero. Legends Mythologiques dans les Chou Jing (Shu Jing). vol. 204 Paris. .
  • Anneliese Bulling. The Decoration of Mirrors of the Han Period: A Chronology. no. 20 Ascona, Switzerland. .
  • Anneliese Bulling. The Decoration of Chinese Art from Neolithic Pottery to Modern Architecture. New York. p. 163.
Collection Area(s)
Chinese Art
Web Resources
Google Cultural Institute
Rights Statement

Copyright with museum