Lidded ritual wine ewer (guang) in the form of a tiger, owl, and and water bird

citation

Historical period(s)
Early Anyang period, Late Shang dynasty, ca. 1300-1200 BCE
Medium
Bronze
Dimensions
H x W x D: 23.5 x 31 x 11.1 cm (9 1/4 x 12 3/16 x 4 3/8 in)
Geography
China, Henan province, Anyang
Credit Line
Purchase — Charles Lang Freer Endowment
Accession Number
F1938.5a-b
On View Location
Currently not on view
Classification(s)
Metalwork, Vessel
Type

Ritual vessel

Keywords
Anyang period (ca. 1300 - ca. 1050 BCE), bird, casting, China, Shang dynasty (ca. 1600 - ca. 1050 BCE), tiger, wine, WWII-era provenance
Provenance

From at least 1937 to 1938
C.T. Loo & Company, Paris and New York from at least August 30, 1937 [1]

From 1938
Freer Gallery of Art, purchased from C.T. Loo & Company, New York on February 4, 1938 [2]

Notes:

[1] See "List of objects owned by C. T. Loo & Co., New York [and sent to] the Gallery for examination," copy in object file. According to an annotation on the list, the vessel was received from Paris on August 30, 1937.

[2] See C. T. Loo's invoice, dated January 17, 1938, with an annotation that it was passed for payment on February 4, 1938. The invoice was issued by C. T. Loo's New York gallery.

Previous Owner(s)

C.T. Loo & Company active 1908-1950

Label

A metamorphic fantasy, this vessel combines actual and mythical animals. A long-necked water bird forms the handle, but its tail morphs into the neck and chest of a tiger. Its wings and feet can also combine with an owl’s head. Five pairs of dragons are loosely drawn in narrow bands.

Published References
  • Dr. John Alexander Pope, Mr. R.J. Gettens, James Cahill, Noel Barnard. The Freer Chinese Bronzes. Oriental Studies Series, vol. 1, no. 7 Washington. cat. 43, p. 243.
  • Dr. John Alexander Pope, Thomas Lawton, Harold P. Stern. The Freer Gallery of Art. 2 vols., Washington and Tokyo, 1971-1972. cat. 3, p. 153.
  • 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. 26, pl. 5-6.
  • Grace Dunham Guest A.G. Wenley. Annotated Outlines of the History of Chinese Arts. Washington, 1949. p. 1.
  • Dr. Sherman Lee. A History of Far Eastern Art. Englewood Cliffs, New Jersey, 1964. p. 39, fig. 27.
  • Chen Mengjia. Yin Zhou qing tong qi fen lei tu lu (Yin-Chou ch'ing t'ung ch'i fen lei t'u lu). 2 vols., Dongjing. A 652.
  • Robert W. Bagley, Max Loehr, Cornell University Press. Max Loehr and the Study of Chinese Bronzes: Style and Classification in the History of Art. Cornell East Asia, no. 141 Ithaca. fig. 78.
  • Beasts & Beauty in Bronze., February 10, 1958. p. 84.
  • W. Aubrey Cartwright. Guide to Art Museums in the United States: East Coast, Washington to Miami., 1st ed. New York. p. 24.
  • Chin wen tsung chi. Taipei. p. 2692.
  • Higuchi Takayasu. Chugoku seidoki hyakusen., 1 hen. Tokyo. pl. 17.
  • The Encyclopedia of World Art. 17 vols., New York, 1959-1968. pl. 222.
  • Carl Hentze. Bronzegerat, Kultbauten: Religion im ältesten China der Shang-Zeit. 2 vols., Antwerp. pls. 201-202.
  • Eileen M. Berry. Heritage Studies 6: To Know the Past., 2nd edition. Greenville, SC. p. 101.
  • The Horizon Book of the Arts of China. New York. p. 51.
  • Keng Jung Chang Wei. Yin Chou ch'ing t'ung ch'i t'ung lun (A Survey of Shang-Chou Bronzes). Peking. cat. 157.
  • Bernhard Karlgren. Some New Bronzes in the Museum of Far Eastern Antiquities. no. 24 Stockholm. pl.5-6,fig.36,64.
  • Mizuno Seiichi. In Shu seidoki to tama (alt. spelling: In-sho seidoki to gyoku) (Bronzes and Jades of Ancient China). Tokyo. pl. 52.
  • Whitney N. Morgan. Museum Accessions. vol. 11, no. 1 New York, January 1939. pp. 38-39.
  • Netta A. Owens. The Bronze Owl Vessels and Stone Artifacts from the Late Shang Period. M.A. Thesis, University of Pittsburgh, 1979 Ann Arbor. pl. 20.
  • Regina L. Shoolman Charles E. Slatkin. The Enjoyment of Art in America: A Survey of the Permanent Collections of Painting, Sculpture, Ceramics & Decorative Arts in American and Canadian Museums: Being an Introduction to the Masterpieces of Art from Prehistoric to Modern Times. Philadelphia and New York. pl. 12.
  • Smithsonian Institution. Report of the Secretary, 1938. Washington, 1938-1939. pl. 2.
  • Yumiko Suefusa. Yin and Chou Bronzes, with Special Reference to ssu kuang-Type Receptacles. no. 55 Tokyo, March 1978. pp. 29-61.
  • Peter C. Swann, Claude Arthaud, Francois Herbert-Stevens. Chinese Monumental Art. Studio book New York. pl. 13.
  • T'an Tan-chiung. T'ung ch'i kai shu. Taipei. pl. 57.
  • T'an Tan-chiung. Hsin-cheng t'ung ch'i (Hsin-cheng Bronzes). Taipei. p. 34, ill. 30.
  • Mary Tregear. Chinese Art. London. pl. 19.
  • Webster Prentiss True. The First Hundred Years of the Smithsonian Institution, 1846-1946. Washington. before p. 45.
  • Herman Floris Eduard Visser. Aziatische Kunst in Amerika, I-II. vol. 16, no. 2/4 Amsterdam, February - April 1939. p. 103.
  • William Watson. China Before the Han Dynasty. Ancient Peoples and Places, vol. 23 New York. fig. 29.
  • Daniel Shapiro. Ancient Chinese Bronzes: A Personal Appreciation. .
Collection Area(s)
Chinese Art
Web Resources
Google Cultural Institute
Rights Statement

Copyright with museum

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