LOT ISA Auctionata Auktionen AG  /  Important Asian Art  / 

13

Bronze vessel FANGYI, Western Zhou Dynasty, 11th/10th C. BC

Currency:EUR Category:Collectibles Start Price:100,000.00 EUR Estimated At:160,000.00 - 200,000.00 EUR
Bronze vessel FANGYI, Western Zhou Dynasty, 11th/10th C. BC
Bronze with a strong gray-green patina, partly with incrustations
China, early Western Zhou Dynasty, 11th/10th century BC
Large rectangular lidded container with convexly curved walls
Roof-shaped lid with corresponding knob finial
The edges and central axes accentuated by large, hook-like flanges
The surface of the wall dissolving into a lively deep relief with taotie masks on a spiral underground
Foot with border depicting stylized bird-like creatures, underneath the upper rim a border with protruding three-dimensional tiger masks with serpent body
The lid with inverted taotie motifs
Inside of the base with large fragmentary inscription
Height: 58 cm
Condition consistent with age
Provenance: Private collection M.E., USA
Michael Fiorello, Philadelphia, USA

An important and exceptional large bronze vessel FANGYI (early Western Zhou dynasty 11th/10th century B.C.)

By Dr. Arne Sildatke, Senior Specialist Asian Art

Fangyi vessels belong to a very rare group of Chinese ritual bronzes. They are characterized by a cubic body with a roof-like lid with a knob handle. Their walls are decorated with relief Taotie masks framed by a border of mythical creatures. Flanging runs vertically across the body and lid, exaggerating their straight edges (1). In all likelihood, Fangyi vessels were ritual wine containers used during ceremonial acts. In relation to other types of vessels from the Chinese Bronze Age, there are only a few known examples. One the one hand, their scarcity and stressed importance can be explained by the fact that this type of vessel – according to current research – was only produced over a short period of time. They were made between the late Shang and early Zhou dynasties; between approximately 1300 and 1000 B.C. On the other hand, producing Fangyi vessels required considerably more effort than round vessel types. The process involved a complex, form-based molding procedure that required a high level of technical ability. This appears to explain the special appreciation for Fangyi vessels. Archaeological findings clarified that they were only discovered in exceptionally well-furnished graves. Their use was therefore reserved to a noble elite of high-ranking personalities and very special occasions.

Whilst Fangyi from the Shang dynasty are characterized by a relatively small, compact form with an emphasis on vertical characteristics, their silhouette changed during the beginning of the Zhou dynasty. The vessels became larger and more bulbous. Graphic, hook-like flanging replaced the profile-like flanging, giving the objects a more dynamic exterior.

This Fangyi dates back to early Western Zhou dynasty (11th/10th dynasty B.C.), with its solid, bulbous body, towering lid and articulated flanging. It shares a striking similarity with a somewhat smaller vessel, with almost exactly the same composition and conformity in the details. Its doppelgänger forms part of the Freer Sackler Collection, on show in the Smithsonian’s Museum of Asian Art in Washington D.C. (Inv. 30.54, fig. 1:http://www.asia.si.edu/collections/zoomObject.cfm?ObjectId=9900). That particular Fangyi, named “Ling Fangyi” within the field of research, after its donor, is one of the most well-known and important bronzes of the early Zhou dynasty, thanks to the well-preserved inscription on the inner vessel floor and lid (2). You can find comprehensive information on this specimen in the catalog for Freer Collection bronzes, which are acquired under the direction of John Ellerton Lodge (3). The bronze vessel, which features a nearly identical design and composition to the Fangyiu presented here, was found in Luoyand, Henan, in 1929. A Huo vessel was also found during the dig and is now also owned by the Freer Collection (4). In expert literature, it has been observed that the dig that took place in the winter of 1928/1929 was not sufficiently documented and some objects indirectly found their way onto the art market without any archaeological records (5). The Fangyi on offer here probably has a similar past, particularly in view of its provenance (6).

Comparing the “Ling Fangyi” in Washington with this one reveals some astounding similarities. The arrangement of the flanging, the decoration of the Taotie masks and the ornamental mythical creature borders are especially striking. The offset foot profile found in both vessels suggests they were both probably intended to be presented on some form of stand. The two objects also show similarities regarding their material. Both Fangyi vessels display specific traces of corrosion on the roof-like lid. The powdery green to white efflorescing corrosion is known as “bronze disease” and is a result of active corrosion due to copper chloride (7).

In a wider context, both of the aforementioned Freer Sackler bronzes belong to the so-called “Chen-Chen” or “Ling” bronzes (8). This group of over 40 objects, which are amongst the most well-known bronzes within Zhou research, is united by the objects’ various inscriptions (9). In most of them, the inscription of the name?? (Chen-Chen) or ? (Ling) are visible, whilst the rest are ascribed to a common place of discovery or the mention of a palace called?? (Kang Gong). Further objects from this group of important bronzes that are related to one another due to their place of discovery or inscriptions can be found in American collections – for example, the “Chen Chen Fu Yi Gui” in the Harvard Art Museum (fig. 2:http://www.harvardartmuseums.org/art/204107) (10) or a FANGDING in the Hermitage Collection in Norfolk, Virginia (fig. 3:http://www.thehermitagemuseum.org/collections-exhibitions/sloane-collection/asian-collection) (11).

The 187/188-character inscription of the “Ling Fangyi” relates to a three-day courtly ceremony that included official meetings and ritual acts. The inscription is a rare written testament of the ruling structures of the early Zhou elite, making the vessel immensely important within the field of research. However, due to its outstanding artistic quality, it is also one of the world’s most famous bronze artefacts from this period. This makes it even more sensational to observe the relationship between the “Ling Fangyi” and the vessel on offer here.

Although the inscription of this Fangyi is hidden by heavy encrustations in the patina, the stylistic analogies and provenance imply that this could be an object from the direct vicinity of these important groups of objects. Due to its considerable size, it would also be one of the largest objects of these groups. It is one of the largest Fangyi discovered in general. It is even more spectacular that this vessel has appeared on the international art market, after being hidden in the private collection on the East Coast of America for over 40 years. Its discovery can contribute massively to a better understanding of bronze art during the Zhou period and the scientific research thereof.

Footnotes:


An outline of the development of this particular vessel type is given in Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington D.C., 1987. pp. 429-444.
Cf. Smithsonian Institution (Hg.), The Freer Chinese Bronzes, Bd. 1, Washington 1967, pp. 212-221.
Cf. Smithsonian Institution (Hg.), A descriptive and illustrative catalogue of Chinese Bronzes, acquired during the administration of John Ellerton Lodge, Washington 1946, pp. 40-47.
Cf. ibid., p. 48f.
Cf. Shaughnessy, Sources of Western Zhou History: Inscribed Bronze Vessels, Berkeley 1992, S. 193.
Regarding the Private Collection M.E., USA and its particular provenance see the preface of the present auction catalogue.
Cf. Smithsonian Institution (Hg.), The Freer Chinese Bronzes, Bd. 2, Washington 1967, pp. 182-187.
Cf. LI Feng: Landscape and Power in Early China: The Crisis and Fall of the Western Zhou 1045–771 BC, Cambridge 2006, p. 62f.
Cf. Shaughnessy 1992, pp. 193-216.
Cf. Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections (Volume IIB), Washington, D.C. 1990, p. 469.
Cf. Chase (et. al.), Ancient Chinese bronze art: Casting the precious sacral vessel, New York 1991, p. 51.




Condition: The FANGYI is in fair condition consistent with age. The dimensions are h. 58 cm, 36,5 x 35 cm.

Provenance: Private collection M.E., USA

Michael Fiorello, Philadelphia, USA


Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
Sign In to Bookmark Lot