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W tth the Qompliments of 
 
 Worcester Reed Warner 
 
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Selections 
 
 from 
 
 ORIENTAL 
 OBJECTS OF ART 
 
 (follected by 
 
 WORCESTER REED WARNER 
 
 
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 Chinese, 'JMing 
 
 Rare example of Mrisro pottery, decorated in turquoise and aubergine glaze. 
 The decoration was drawn in the clay with defining edges, or outlines, and then 
 fired. Subsequently the cloisonnes thus formed were filled with colored lead 
 glazes and fired again in a kiln of comparatively low heat. This piece is 
 exceptional for its velvety surface and the rich lapis blue of the background in 
 contrast with the other colors introduced. 
 
 S[ze: 15^ inches high 
 
 ★ 
 
Selections 
 
 from 
 
 ORIENTAL 
 OBJECTS OF ART 
 
 Qollected by 
 
 WORCESTER REED WARNER 
 
 MOST OF WHICH HAVE BEEN 
 PRESENTED TO THE 
 
 CLEVELAND MUSEUM 
 OF ART 
 
 Tarrytown, New York 
 1921 
 
Copyrighted, 1921 , by 
 Worcester Reed Warner 
 
 T) e s i g n e d , £ngra-ved and ‘Printed by Bartlett Ore Press, York £ ‘ ^ P 
 
FO^I(EW 0‘J(^ 
 
 Oriental art, which was once the cult 
 of the few, has recently come to be the interest of 
 the many. 
 
 Fine examples of it are now to be found 
 not only in museums but also in the hands of 
 numerous private collectors around the world. 
 
 The illustrations presented herewith are of 
 certain type-pieces from such a collection. 
 
 Connoisseurs will probably see in them, as 
 does the collector himself, a development in 
 photography and presswork more nearly worthy 
 of the art which produced the originals than any 
 previous efforts of the kind. 
 
 It is therefore hoped that a double interest 
 may attach to this group of selected specimen 
 pieces, all of which, except those marked with a 
 star (★) as still belonging to the collector, have been 
 presented by him to the Cleveland Museum of Art. 
 
 WORCESTER REED WARNER 
 
 Tarrytown, York 
 
 DECEMBER 
 
 1921 
 

 •» 
 
 
 
 *♦ 
 
 J 
 
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 DATES OF DYNASTIES 
 
 <iAs adopted by the Td>epartment of Oidental <zArt of the <:y^etropolitan <dhfCuseum 
 
 Chou Dynasty 
 
 I 122-255 B.C. 
 
 Han Dynasty 
 
 206 B.C.- 2 20 A.D. 
 
 Wei Dynasty 
 
 220-265 
 
 Six Dynasties 
 
 265-618 A.D. 
 
 T’ang Dynasty 
 
 6 I 8 - 906 A.D. 
 
 Sung Dynasty 
 
 960 - I 2 80 A.D. 
 
 Ming Dynasty 
 
 1368-1 644 A.D. 
 
 Chtng Dynasty 
 
 I 644-1 912 A.D. 
 
 K’anG-HSI, 1662-1722 A.D. 
 Yung Cheng, 1723-1735 a.d. 
 Ch’ien-lung, 1736-1795 A.D. 
 
JAPANESE EPOCHS 
 ‘Referred to 
 
 Kara 
 
 About 700-800 A.D. 
 
 
 Fuji WARA 
 
 About 900-1200 A.D. 
 
 
 Kamakura 
 
 About 1200-1400 A.D. 
 
 
 Tokugawa 
 
 About 1700-1850 A.D. 
 
POTTERY AND PORCELAINS 
 
 in the 
 
 WORCESTER REED WARNER 
 COLLECTION 
 
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Pottery AND PoRCELAii<rs 
 
 Ceramics, which term includes all that belongs to the fictile 
 arts, including pottery and poreelain, were, from the earliest ages, 
 connected with Chinese ceremonies, while in the burial rites, from 
 the beginning of recorded history, they took the plaee of bronze. 
 Pottery is in existence which was made in the Han Dynasty but 
 the earliest porcelain known, a flower vase in the Peking Museum, 
 is marked with the name of the reign of Shih T sung (a. d. 9 5 4-9 59) 
 though probably a still earlier date may be assigned to the art of 
 making porcelain. At all events, for long centuries China was the 
 only country in which porcelain, or translucent ceramie, was made; 
 and its very name, derived {rom porcellana, or eowry shell, denotes 
 the esteem, due to its mythieal character, in which it was held. A 
 few pieees are known to us which date from the Sung Dynasty, the 
 period of the earliest monoehrome wares, but the majority are either 
 of the Ming Dynasty or of the last reigning dynasty, the Ch’ing or 
 Manchu, when the best of the well-known ‘‘blue and white” was 
 made, when every kind of deeorated ware was produced in perfection 
 and when the potter’s art reached its highest point as regards technique. 
 Roughly speaking, Chinese porcelains may be divided into three 
 groups, varying in the method of their color decoration. There is 
 the first, in which a colored glaze is employed ; the second, in 
 which the colors are applied under the glaze; and the third, in which 
 the colors are applied over the glaze and are subsequently dissolved 
 by firing. In the third of these groups belong most of the examples 
 here illustrated. 
 
Chinese 
 
 
 Blue and white ware decorated 
 with four medallions, illustrating quasi- 
 historical episodes. The beautiful clear 
 soft white of the background is of equal 
 interest and importance with the strong 
 Mohammedan blue decoration. 
 
 Size : i i ^ inches high 
 

Chinese 
 
 Pottery bottle with typical auber- 
 gine glaze. Against a purple -black 
 ground are the figures of eight sages 
 in various colors of lead glaze, within 
 cloisonne areas. Above, around the 
 neck, are cloud forms. The bottom is 
 decorated with an elaborate lotus pat- 
 tern in five colors. 
 
 Size: 14^ inches high 
 
Chinese 
 
 K' ang-hsi 
 
 Polychrome porcelain decorated 
 with the flowers of the season in red, 
 orange, yellow, green and violet. The 
 white glaze, used as a background and 
 foil for the brilliant colors, is not sur- 
 passed in brilliancy or richness by them. 
 The shape is classic and the two, as a 
 pair, constitute a choice example of five- 
 color porcelain. 
 
 Size : 1 2 ^ inches high 
 
 ★ 
 
 [ 22 ] 
 
Chinese 
 
 K' ang-hsi 
 
 Pair of tall vases of Imari type, 
 gourd in shape, decorated with flower 
 sprays in full color and gold on a white 
 ground. These vases are exceptionally 
 large and decorative, with brilliant 
 colors and blue-white ground. 
 
 Size: 28^ inches high 
 
Chinese 
 
 K" ang-hsi and Qh' ten -lung 
 
 Coral-red porcelain of the K’ang- 
 hsi and Ch’ien-lung periods. The two 
 plates of deep coral-red, with dragon 
 and cloud pattern in gold, are of the 
 K’ang-hsi period (1662-1722), The 
 gourd shaped vase, of lighter coral-red, 
 with conventionalized flower, cloud, 
 and scroll pattern and the character 
 shou^ is of the Ch’ien-lung period (1736- 
 1795). The quality of the deep coral- 
 red and the pure gold is notably fine. 
 These are palace-pieces, as designated 
 by the characters on the foot of each. 
 They belonged to the collection of 
 Mr. Arbuthnot and passed through 
 the hands of only one other collector 
 to the present owner. 
 
 Sizes : Plates, 9 inches in diameter; vase, 1 2 inches high 
 
Chinese 
 
 YungCheng 
 
 F iVE-coLOR VASE, decoritcd with red 
 and green dragons in pursuit of the 
 flaming jewel of life, with four shou 
 on the neck and phcenix birds around 
 an intermediate band. On the lower 
 part of the base it is dated as having 
 been made in the Chia Ch’ing Dynasty 
 (1522-1566). Two handles of elephants’ 
 heads and rings are modeled in relief 
 on the shoulders. 
 
 Size: 25J4 inches high; inches in diameter 
 
Chinese 
 
 Qh' ien- lung 
 
 Blue and white soft- paste jar. 
 The bold, well -conceived design in 
 rich blue on the white, crackled surface 
 places this piece as an important one of 
 its period — the frail work of an expert 
 potter. 
 
 Size: 7^^ inches high 
 
 i 30 ] 
 
■ Chinese 
 
 Qh' ien- lung 
 
 Poly CHROME PORCELAIN of the Ch’icn- 
 lung period (1736-1795). This is one 
 of the most important examples of 
 the rare “nine -peach” vase extant. 
 The quality of the porcelain is particu- 
 larly noteworthy, as is also the superior 
 technique of the design. The decoration 
 is in surface enamel in five colors. A 
 unique feature is the introduction of 
 five bats symbolizing the Five Blessings. 
 The design as a whole typifies complete 
 wedded happiness. Such pieces were 
 made for the imperial household and 
 often served as anniversary gifts. 
 
 Size : 21 inches high 
 
Chinese 
 
 Qh' ien-lung 
 
 Brilliant polychrome porcelain 
 decorated with flowers in enamel colors. 
 The delicate character and rich orna- 
 mentation of this vase charm the eye 
 and characterize it as a “mille fleur” 
 specimen of unsurpassed beauty. 
 
 Size : 5 inches high 
 
Chinese 
 
 Qh' ien- lung 
 
 M ONOCHROME PORCELAIN of brilliant 
 clair-de-lune glaze. An all-over pattern 
 of clouds and flying bats, modeled 
 under the glaze in low relief, gives to 
 the surface a soft vibrating quality of 
 great beauty. It has the ephemeral 
 character of moonlight moulded into 
 form by a master potter’s hand. 
 
 Size : 8 ^ inches high 
 
Chinese 
 
 Han 
 
 Very ancient bronze-colored pot- 
 tery VESSEL, the form of which was 
 derived from the silk cocoon. The 
 vessel is exceedingly light in weight 
 and the surface is so metallic in ap- 
 pearance that the substance is easily 
 mistaken for bronze. The remarkable 
 modeling characterizes this as a piece 
 ot great importance. Similar pieces in 
 other collections are attributed to the 
 Chou Period. 
 
 Size: io inches high 
 
 [ 38 ] 
 
39 
 
Chinese 
 
 T' ang 
 
 Head of a lohan or buddhist saint. 
 This example of pottery sculpture is 
 among the rarest of early Chinese 
 ceramics. It belonged to one of a 
 group of sixteen over-life-size pottery 
 figures of as many Lohans or per- 
 fected disciples of Buddha, each 
 modeled with admirable technique 
 and covered with typical T’ang glazes 
 in the “egg and spinach” coloring. 
 
 Ten are known to exist besides frag- 
 ments of others, all found in caves 
 of a mountain near Ichou, southwest of 
 Peking. 
 
 Size: F?'om chin to top of head, i 2 inches high 
 
 [ 40 ] 
 
[ 41 ] 
 
Chinese 
 
 T' ang 
 
 Tomb pottery in the form of an 
 “Earth Spirit”, covered with green 
 and orange glaze, producing a mottled 
 effect, while here and there unglazed 
 areas, such as the face and ears, show 
 the pinkish color of the clay from 
 which the figure was made. These 
 “Earth Spirits” were placed in mortuary 
 chambers and supposedly guarded the 
 soul of the deceased. 
 
 Size : 26 inches high 
 
 [ 42 I 
 
Chinese 
 
 Sung 
 
 Pair of taoist tomb jars covered 
 with thin celadon glaze and decorated 
 with separately modeled figures and 
 symbols, all applied like slip, and subse- 
 quently fired. Both jars are in a won- 
 derful state of preservation; not one of 
 the little figures, animals, dragons, cloud 
 forms,birds or mirrors has been injured. 
 The ornamentation is of the typical 
 “male and female” character. 
 
 Size: 39)4 inches high 
 
 [ 44 ] 
 
( 45 ] 
 
Chinese 
 
 T’zu CHOU WARE. Creamy glaze over 
 a raised decoration of dragon medal- 
 lions, separated by conventionalized 
 flower sprays. This tripod is interest- 
 ing by reason of its very thin glaze, 
 as well as its color and the reticulated 
 ornament above the shoulder. 
 
 Size; inches high 
 
 1 46 ] 
 
[ 47 ] 
 
K OREAN 
 
 
 orai T^eriod 
 
 W INE POT of a beautiful blue-green 
 color, with medallion ornament inlaid 
 with black and white paste under a 
 smooth glaze. Fine specimen of this, 
 the golden period of Korean pottery. 
 
 Size: 8 itiches high 
 

 [ 49 ] 
 
K OREAN 
 
 T^eriod 
 
 Pottery ewer with bulbous body, 
 short neck and large mouth, delicate 
 spout and flat handle. The eye on the 
 cover and a corresponding one on 
 the handle were for the purpose of 
 passing a cord through, thus acting 
 as a hinge. 
 
 This white porcelaneous ewer of 
 bluish tone in nearly perfect condition 
 is a rare specimen from an early period. 
 
 Size: 9^ inches high 
 
 
 oral 
 
 [ 50 1 
 
[ 5 > ] 
 
Korean 
 
 K^rai T^eriod 
 
 Toilet box of porcelaneous ware dec- 
 orated with inlaid ornament in black 
 and white, under a gray-green glaze. 
 Five loose boxes inside. 
 
 Size : 7 ^ inches 
 
 [ 52 ] 
 
JADES AND CRYSTALS 
 
 in the 
 
 WORCESTER REED WARNER 
 COLLECTION 
 

Jades and Crystals 
 
 Jades and crystals, as fashioned by the Chinese, have 
 an intimate connection with Bronzes not only in their similarity 
 of use but in their design and form, fade, it is true, does not lend 
 itself as readily as bronze to decorative ornamentation but it has 
 the indefinable charm due to its natural coloring. It was ranked 
 by the Chinese as the most precious of stones and was endowed by 
 them with many magical and curative properties. It appeals to the 
 sense of touch as well as that of sight and fulfills the Chinese dictum 
 that a work of art should be admirable in both form and texture. 
 Two distinct stones are by this people classed as jades, the first being 
 nephrite^ or kidney stone, and the second jadeite^ or emerald green 
 jade, known to the Chinese as yei-tsdn. It was used by them for 
 precious vessels of all kinds, for insignia of rank worn by the 
 Emperor and feudal princes, for votive offerings and for presents. 
 Nor is jade the only material on which Chinese lapidaries exercise 
 their skill and which they work on their treadle-benches and with 
 their primitive-looking lap wheels and drills. The various quartz 
 stones and rock crystal, for instance, the former with their rich tones, 
 the latter with its crystalline purity, are employed by them and held 
 in almost as much honor as the true jade. 
 
 [ 55 ] 
 
Chinese 
 
 Qh' ien-lung 
 
 K ORO of green jade of the color and 
 variety most favored by collectors. The 
 cover and body of this incense burner 
 were carved from one large boulder of 
 exceptionally uniform color. Here and 
 there clear spots of emerald-like quality 
 enhance the intrinsic value and the 
 artistic excellence of the object. The 
 carving of the two decorative bands in 
 low relief and of the two lions and the 
 elephant-headed handles in full relief 
 has crispness and spontaneity, though 
 the surface has been smoothed until it 
 resembles modeling in plastic material 
 rather than difficult cutting and polish- 
 ing in one of the hardest of stones. 
 
 Size: lo inches high 
 
 ★ 
 
 1 56 1 
 
Chinese 
 
 Ch’ ien-lung 
 
 Pair of jade screens cut from one 
 piece of unusual size and perfection 
 and expertly carved with landscapes and 
 legendary subjects. These screens are 
 of extreme elegance and were secured 
 from the Imperial Palace. 
 
 Size: 12 inches high, 9^^ inches wide 
 
 ★ 
 
 [ 58 J 
 

 
 
Chinese 
 
 Ch' ien-lung 
 
 Incense set of green jade. The clear 
 gem-like color of the perforated orna- 
 ment is comparable to the finest emer- 
 ald green. The artificer planned the use 
 of his material in such a way that the 
 ornament, which is in relief, stands out 
 in its clear emerald-like quality against 
 the opaque lighter ground of the body 
 of the vase. 
 
 The white jade bases enhance the 
 brilliancy of the objects. 
 
 Size : Koro, inches high; vase, 8^ inches high 
 
 ★ 
 
 t ] 
 

Ch INESE 
 
 Ch'ing 
 
 Mandarin necklace of perforated 
 white jade beads embellished with per- 
 forated coral beads and ornaments of 
 green jade. 
 
 This necklace is composed of io8 
 beads and is intended to remind the 
 wearer of the glory of his native land. 
 Seventy-two are supposed to represent 
 as many stones, minerals and metals 
 native to China and the remaining 
 36 represent as many constellations 
 and planets which shed their rays on 
 the country. 
 
 Short strings of smaller beads are 
 supposed to impress upon the mind of 
 the wearer the reverence he owes to 
 his ancestors and his allegiance to the 
 imperial throne of his country. 
 
 The illustration is about one-half size 
 
 ★ 
 
 [ 62 ] 
 

 
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 Chinese 
 
 Qh'ing 
 
 Some belt buckles of jade, carnelian, 
 coral and semi-precious stones. As an 
 occidental lavishes money on jewelry, 
 so did the oriental on belt buckles, as 
 required by his sumptuary laws. 
 
 The dragon, in realistic and conven- 
 tionalized form, is the favorite design 
 for these clasps. 
 
 The entire collection comprises 
 many such, in great variety as well 
 as number. 
 
 Size : Averages 4 inches long 
 
 ★ 
 
 [ 64 ] 
 
Chinese 
 
 The JADE-SPEARED DISK in the Center 
 is light green in color, with varying 
 tones of brown and russet. It was used 
 in sacrificing to the sun, moon and stars. 
 Sung Dynasty. 
 
 The square jade incense burner at 
 the left is mottled gray-brown, with 
 dark browns and greens on the inside. 
 The small cup with handles is decora- 
 ted with the millet or “grain” pattern. 
 Both are assigned to the Sung Dynasty. 
 
 The jade bowl is light green with 
 brownish cast and is delicately carved 
 inside and out. This fine piece is of the 
 Ch’ing Dynasty. 
 
 Size: Speared disk, i i ^/g/i/incenseburner, 2 
 
 inches high; cup, i inches across; bowl, 2 ^ inches high 
 
 [ 66 ] 
 
[ 67 ] 
 
Chinese 
 
 (tXing 
 
 Mi NiATURE MOUNTAIN carvcd from 
 a piece ot Han jade discolored by cen- 
 turies oi burial. i\n evening scene is 
 suggested by the cowherd on his way 
 home and the man sitting in his door- 
 way. The deep shadows under the trees 
 are realistically rendered. 
 
 Size: 10x4^ inches 
 
 [ 68 ] 
 

 [ 69 ] 
 
Chinese 
 
 (^/i ' ien-lung 
 
 Jade gong in the form of a carp. The 
 color is light green, with spots of 
 emerald - green and white; a single 
 brown spot shows at the tip of the 
 hsh’s tail. In ancient times jade fish 
 forms were probably hung in the 
 coffin but later the religious signifi- 
 cance was entirely lost and small 
 forms were used as girdle pendants 
 or ornaments. 
 
 Size: inches from tip of tail to tip of nose 
 
 70 ] 
 
[ 71 ] 
 
Chinese 
 
 Qh ' ie?i- lung 
 
 H ANGiNG VASE of white jade flecked 
 with green. The three chains, the cen- 
 tral one of which is attached to the 
 cover, together with the ornamental 
 suspension bar above, are cut from the 
 same boulder as the vase. The difficul- 
 ties in the execution of such a piece 
 are obvious. Low-relief carving in the 
 t’ao-t’ieh or so-called “mask” pattern 
 ornaments the surface of this vase. 
 
 Size; Vase, lo inches high 
 
 ★ 
 
 [ 72 ] 
 

Chinese 
 
 C^' ien-lung 
 
 Incense burner of two interlaced 
 phoenix birds. The soft, opaque, creamy- 
 white ol the object gives it a distinctive 
 appearance and the design and excel- 
 lence of execution define it as a piece 
 of exceptional merit. 
 
 Size: 8j4 inches high 
 
Chinese 
 
 Qh ' ien-lu?ig 
 
 An especially tall ornamental 
 VASE of white jade. The lack of matrix 
 or anydiscoloration in the large boulder 
 from which it was cut and the techni- 
 cal excellence of the carving place this 
 example among the best of its period. 
 
 Size: 15^ hiches high 
 
 ★ 
 
Chinese 
 
 Qh’’ ien-lung 
 
 Incense set of white jade, beautifully 
 translucent and skilfully carved in sharp, 
 high relief. The small incense box and 
 the vase for holding the fire tongs were 
 undoubtedly cut from the same boulder 
 as the brazier. 
 
 Size : Largest piece, 5 inches high 
 
[ 79 ] 
 
Chinese 
 
 Qh ' ien~lung 
 
 Rock crystal vase of flawless quality, 
 decorated in high relief with dragon, 
 lions, rocks and flowers. In many places 
 the material is undercut in full relief. 
 The rings on the cover and the neck of 
 the vase are entirely free so that a cord 
 may be passed through them, thus hold- 
 ing the cover in place. This flawless ex- 
 ample would be difficult to match. 
 
 Size: 9^ inches high 
 
 ★ 
 
 [ 80 1 
 

 
 
 
 
 
 flnBr&i^iiC 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^Bajn 
 
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 '3^|K^BeH 
 
 ^S^ShtIS^v' M\-H 
 
 iHS^Ij 
 
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BRONZES 
 
 in the 
 
 WORCESTER REED WARNER 
 COLLECTION 
 
A’' 
 
 •* . 
 
 J 
 
 
 
 
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 ! 
 
Bronzes 
 
 Copper, which was highly valued as a metal from the earliest 
 time in China, under the name of Chin^ or metal, was alloyed in 
 various proportions with tin, or hsi^ to form bronze. The ancient 
 bronzes are divided by the national writers into two great classes, 
 those belonging to the oldest dynasties of Hsia, Shang and Chou, 
 and those of the Han, T’ang and later dynasties. Of the first but 
 lew examples are left to us, but of such importance did the Chinese 
 consider their work in bronze that many ot the objects cast and 
 chiseled in the first centuries of the Christian era are preserved. 
 Though some of the most interesting bronzes date from the time of 
 the Han Dynasty they are classed as “ancient” and chiefly consist 
 of sacrificial vessels. Of later date, superb pieces, including mirrors 
 and war-drums, have been secured by collectors and it is significant 
 that bronzes are among the remains of Chinese art most highly valued 
 by occidentals, holding a second place only to porcelains. Thus there 
 are many important examples to be found in American museums and 
 private collections. 
 
 1 85 ] 
 
Chinese 
 
 Han 
 
 Ancient sacrificial bronze vessel 
 of exceptional interest, decorated with a 
 large “mask” design on both sides and 
 an upper and lower band oi convention- 
 alized dragons. This piece is notable for 
 its workmanship, its beauty of form and 
 the rich color of its patina; also by reason 
 of the inscription on the inside. 
 
 Size: inches high 
 
 ★ 
 
 86 
 
Chinese 
 
 Qhou Type 
 
 Bronze vessel decorated with “mask” 
 design in relief and inlaid with gold 
 and silver in the “recumbent silk-worm” 
 motif. The form and decoration resem- 
 ble those of the bronze vessels of pre- 
 Christian times but the casting is later. 
 
 Size: i6^ inches high 
 
 [ 88 ] 
 
[ 89 1 
 
Chinese 
 
 Qhou Type 
 
 Bronze vessel with silver inlay, deco- 
 rated with “mask” design and conven- 
 tionalized birds. This very line example 
 of casting is pre-Christian in type but 
 the workmanship is of a later date. 
 
 Size; 23^ inches high 
 

 [ 91 ] 
 
Chinese 
 
 Han 
 
 S ACRiFiciAL BRONZE VESSEL dccorated 
 with a single band of incised running 
 scrolls and two animal heads in relief. 
 At the sides are two knobs to which a 
 bail was originally attached. The metal 
 cover has been replaced by a wooden 
 one mounted with an ancient piece of 
 jade. The rich patina, red and green in 
 color, is of remarkable brilliancy. This 
 piece, also, has a most interesting in- 
 scription on the inside. 
 
 Size: 5^ inches high 
 
 \ 92 ] 
 
[ 93 ] 
 
Chinese 
 
 Han 
 
 Bronze wine jar of graceful design, 
 decorated with three parallel bands of 
 minute geometrical pattern, placed at 
 irregular distances on the otherwise 
 plain surface. The cover has a snout 
 for pouring and an eye to which was 
 attached a chain extending to the loose 
 ring on the handle. The surface color 
 is reddish-brown flecked with green. 
 
 Size: 14 inches high 
 
[ 95 ] 
 
Chinese 
 
 Han 
 
 Bronze war drum. Seven bands re- 
 peatedat irregular intervals in nineteen 
 concentric circles form an all-over 
 pattern of unique interest. The six frog- 
 like forms, symbolizing irrigation and 
 agriculture, frequently ornament war- 
 drums as in this case. This is an unusual 
 specimen both for size and beauty of 
 workmanship. 
 
 Size: 34^ inches in diameter 
 
 \ 96 ] 
 
[ 97 ] 
 
Chinese 
 
 Han 
 
 Bronze war drum. Detail of the 
 illustration shown on page 97 and 
 described on page 96. 
 
 Size: inches in diameter 
 
I 99 ] 
 
Chinese 
 
 Six ^Dynasties 
 
 Bronze MiRROR,decorated in low relief 
 with geometric and scroll patterns and 
 conventionalized animal forms. This 
 casting is comparable to some of the 
 best from the Shan Fan, or Imperial 
 F'oundry. 
 
 Size: 6 inches in diameter 
 
 [ 1 
 
I O I 
 
Chinese 
 
 Bronze bell, decorated with the “nip- 
 ple” pattern and intermediate bands 
 of scroll work. In form and decoration 
 it resembles the ancient bells of the 
 Chou Dynasty but the casting cannot 
 be earlier than the Sung Dynasty. 
 
 Size: inches high 
 
 ★ 
 
 1 1 
 
[ '°3 j 
 
Chinese 
 
 Han 
 
 Sacrificial bronze vessel decorated 
 with an upper and lower band of the 
 “mask” design and a wide central band 
 of the “nipple” pattern, each nipple 
 surrounded by diamond forms. 
 
 originally covered with gilt and used 
 for sacrificial purposes. The lower part 
 is decorated with the t’ao-t’ieh,or ogre, 
 known as the “mask” design, the upper 
 part with what resembles convention- 
 alized palm leaves. 
 
 Chinese 
 
 Tripod libation bronze vessel. 
 
 First — Size: 5J-| inches high 
 Second — Size: io inches high 
 
 [ I 
 
Korea 
 
 K^rai Period 
 
 Bronze bottle and vase with thin 
 walls covered with beautiful blue-green 
 patina. Both are prototypes of porcela- 
 neous ware of identical form. 
 
 Size: Bottle, i z7/^ inches high; vase, 1 1 ^ inches high 
 
[ '°7 ] 
 
Korean 
 
 K^rai T^eriod 
 
 Buddhist bronze triad, originally 
 painted and gilded, small bits of which 
 decoration are still visible. Though 
 this triad is representative of a period 
 decadent in Buddhist sculptural art, it 
 possesses a charm that reveals a delicate 
 touch and a true understanding of 
 technique, if not of religious signifi- 
 cance. 
 
 Size; Length, zz inches 
 Height including base, i6 inches 
 
 \ I 
 
[ i°9 1 
 
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STONE SCULPTURES 
 
 in the 
 
 WORCESTER REED WARNER 
 COLLECTION 
 
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Stone Sculptures 
 
 The earliest carved stones in China are undoubtedly the inscribed 
 and low-relief carved tablets, historical in their nature, as well as 
 the famous drums of the Chou Dynasty. Buddhism was first heard 
 of in China after the return of the Ambassador Chang Ch’ien from 
 Central Asia, in b.c. 12 6, and was not made an official religion until 
 nearly two centuries later, in a.d. 67, under the Emperor Ming Ti. 
 Most notable, perhaps, of the later Buddhist sculptures, are those 
 of the grottoes of Lung Men, based largely upon those of Yun-Kang, 
 which, in turn, obtained its models from Gandhara, through Turkic 
 families. The oldest image in Lung Men is that in honor of a priest 
 named Fah Seng and is dated a.d. 503, while a tablet nearby was 
 erected by the Empress Wu of the T’ang Dynasty. The sculptured 
 figures of this dynasty,indeed,are the last examples of stone sculpture 
 as a great art, though as late as the eighteenth century the Emperor 
 Ch’ien-lung erected the famous marble stupa of Pai-T’a Sen with 
 its elaborate sculptures. 
 
 [ ] 
 
Chinese 
 
 T' a ng 
 
 Life-size figure of buddha, in 
 white marble, seated on a lotus pedes- 
 tal. The pedestal is decorated top and 
 bottom with a lotus petal design; the 
 six-sided drum, with priestly figures. 
 Work of the Tenth Century. 
 
 Size; 68^ inches high over all; pedestal, 26 inches high 
 
[ "5 ] 
 
Chinese 
 
 T'ang 
 
 Small stone head. The tiny figure 
 of Amida in the head-dress defines this 
 Buddhist deity as Kwan-yin, the all- 
 merciful God. 
 
 Size: 9^ inches high 
 
 \ '-6 ] 
 
f "7 1 
 
Chinese 
 
 T'ang 
 
 Stone head, broken from a life-size 
 statue of a Buddhist deity. It is charac- 
 teristically of the Golden Age of Chinese 
 Art. 
 
 Size : i 8 inches high 
 
 I 1 i8 1 
 
[ "9 1 
 
Chinese 
 
 Six ^Dynasties 
 
 Stone head, a little over life-size, 
 broken off the solid rock wall on which 
 it was carved. Large statues carved in 
 situ were a part of the interior decora- 
 tion of the ancient Buddhist caves of 
 China. A famous site for caves and 
 carvings of this sort was at Lung Men, 
 in Shensi Province, from which this 
 example may have come. 
 
 Size: i 5 inches high 
 
 I 20 
 
I 2 I 
 

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 \ 
 
JAPANESE CARVED WOOD 
 CRYSTAL AND BRONZE PIECES 
 
 in the 
 
 WORCESTER REED WARNER 
 COLLECTION 
 
Japanese 
 
 Sixteenth or Seventeenth Qentury 
 
 W OODEN FIGURE OF DAINICHI, the 
 Illuminated One, seated on a lotus pedes- 
 tal. Theperforated metal crown and the 
 breast ornament are splendid examples 
 of metal work of an even earlier date. 
 
 Size: Figure, inches high; bi inches over all 
 
 [ ' 2 + 1 
 
"> - 
 
 - 3 
 
 I 
 
Japanese 
 
 Eighteenth Qentury 
 
 Bronze vase designed for ikebajiag 
 or Japanese flower-arrangement, is re- 
 markable for its workmanship. The 
 vase is supported by a dragon, boldly 
 wrought, while a second dragon coils 
 around and pierces through the surface, 
 reappearing on the other side. The 
 piece is signed by Senin, an artist of 
 great repute. 
 
 ★ 
 
 [ '26 ] 
 
Japanese 
 
 <^Moder?^ 
 
 Five-inch crystal ball on a beauti- 
 fully wrought mounting of wave and 
 dragon design in silver and bronze, 
 respectively. 
 
[ ‘29 ] 
 
Ch INESE 
 
 Small panels of ancient wood carv- 
 ing set into four modern frames. These 
 perforated panels, assembled from an 
 old cabinet, bear traces of color and 
 gold still adding to their charm. Much 
 of the carving is in three planes. 
 
 Size: Each panel, 12 inches wide 
 
 ★ 
 
 [ ' 3 ° I 
 
[ 13 ' ] 
 
Ch INESE AND Ko REAN 
 
 Exhibition case of pottery in the 
 Cleveland Museum of Art, Worcester 
 Reed Warner Collection, Several of 
 these pieces are illustrated individually 
 on preceding pages. 
 
 [ >32 I 
 
[ '33 ] 
 
Chinese Porcelains 
 AND Jades 
 
 Exhibition case in the home of 
 Worcester Reed Warner, at Tarrytown, 
 New York. Several of these pieces are 
 illustrated individually on preceding 
 pages. 
 
 [ 04 ] 
 
f ‘35 ] 
 
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