Iconography of the Qin (Lawergren)

INTERNATIONALJOURNALFORMUSICICONOGRAPHYVol.XXXII,no.1-2Spring-Fall2007RESEARCHCENTERFORMUSICICONOGRAPHYTHEGRADUATECENTEROFTHECITYUNIVERSITYOFNEWYORKINTERNATIONALJOURNALFORMUSICICONOGRAPHYVol.XXXII,no.1-2Spring-Fall2007EditorZdravkoBlaiekoviCAssociateEditorKatherinePowersBoardofAdvisoryEditorsAntonioBaldassarre,HochschulederKunsteZurich/KurtLeimerStijiung,ZurichGabrieleBusch-Salmen,Kirchzarten/FreiburgSuzanneFagenceCooper,VictoriaandAlbertMuseum,LondonFlorenceGttreau,InstitutderecherchesurlePatrimoinemusicalenFrance(CNRS/MinistaredelaCulturdBNF),ParisKatherineA.McIver,DepartmentofArtandArtHistory,UniversityofAlabamaatBirminghamAntoniPiz$FoundationforIberianMusic,TheGraduateCenter,CUNYMusicinArt(ISSN1522-7464)isthecontinuationoftheRIdIM/RCMINewsletter,volumeI(1975)tovolumeXXII(1997).Thejournalispublishedyearlyandannualsubscriptionratesare$120forinstitutionsand$30forindividuals.ArticlesmaybesubmittedinEnglish,French,Italian,Spanish,orGerman.Thejournalalsoreviewsbooksandexhibitions.Lettersfromreadersarewelcomed.Theeditorreservestherighttopublishlettersinexcerptedformandtoeditforconci-sionandclarity.Authorsareresponsibleforobtainingpermis-siontopublisheachoftheirillustrations.MusicinArtisab-stractedinRILMAbstractsofMusicLiteratureandBibliogra-phyoftheHistoryofArt,andcitedinMusicIndex.PrintedbyImprimerieREF,Montreal,inSeptember2007.02007ResearchCenterforMusicIconographyCUNY.Allrightsreserved.Nopartofthecontentsmaybereproducedwithoutthewrittenpermissionofthepublisher.TheCityUniversityofNewYorkGraduateCenter,BarryS.BrookCenterforMusicResearchandDocumentationResearchCenterforMusicIconography365FifthAvenue,NewYork,N.Y.10016-4309Phone(212)817-1992.Fax(212)817-1569eMailaddress:zblazekovic@gc.cuny.eduhttp://web.gc.cuny.edu/rcmiTERRYE.MILLER5TheUncertainMusicalEvidenceinThailand'sTempleMuralsCRISTINA-GEORGETAALEXANDRESCU33TheIconographyofWindInstrumentsinAncientRome:Cornu,Bucina,Tuba,andLituusBoLAWERGREN47TheIconographyandDecorationoftheAncientChineseQin-Zither(500BCEto500CE)JOSEPHS.KAMINSKI63TheIconographyofIvoryTrumpetsinPrecolonialWestAfricaandMedievalSpainwithLinguisticandHistoricalEvidencesImplyingAncientContextsPATRICKTROSTER84WhichKindofTrumpetDidtheMe'nestreldetrompettePlayinLateGothicAltaBands?MAURICIOMOLINA93"IntympanoRexNostertympanizavit":FrameDrumsasMessianicSymbolsinMedievalSpanishRepresentationsoftheTwenty-FourEldersoftheApocalypseELENAFERRARI-BARASSI102TheNarrativeAboutSaintMaryMagdaleneintheChurchofCusiano,ItalyJEFFREYG.KURTZMAN113LessonsLearnedfromtheIconographyofVenetianCeremonies:ClaudioMonteverdiandtrombesquarciateHERBERTHEYDE133TwoEuropeanWindInstrumentsintheShapeofaDragonSTEWARTPOLLENS142MicheleTodini'sGoldenHarpsichord:ChangingPerspectivesWANGLING154ImagesofDanceonCangyuanCliffPaintingsandTheirCreatorsMAR~APAZL~PEZ-PELAEZCASELLAS169"Voscanitissurdiscanitisqueligatis"olarespuestade10sreligiososanteelcantodelassirenasMusicinArtXXXII/1–2(2007)47©2007ResearchCenterforMusicIconographyCUNYTHEICONOGRAPHYANDDECORATIONOFTHEANCIENTCHINESEQIN-ZITHER(500BCETO500CE)BOLAWERGRENHunterCollegeandTheGraduateCenterTheCityUniversityofNewYorkTheearliestknownancientqin,theprececessortotheclassicalinstrument,1wasburied433BCEinthetombofMarquisYiofZenglocatedatSuizhou,inthepresent-dayHubeiprovince[fig.1].2Withthisinstru-mentarerelatedthreeareasoficonographicinterest:thesmallestisanissueofthetuningkeys,whichhasnotyetenteredtheindigenousChinesemusicologicalliterature;thelargeristhebodyoftheinstrumentwhichisbetterknownsubject;andthelargestistheplayerandhiscontext,whichisthesubjectfamiliartomoststudentsofgeneralChineseculture.DECORATIONSONTUNINGKEYS.WhyisthesmallinstrumentfromthetombofMarquisYiofZengconsider-edtobeaqinratherthanaspeciesentirelydifferentfromtheclassicalqinwhichisnearlytwiceaslarge?[fig.2]Onereasonisthetuningmechanismsimilartotheidiosyncraticpeg-tuningoftheclassicalqin.MostotherzithersoftheFarEastlackpegsandusesmallmovablebridgesfortuning,suchasthoseonthezheng.3Thepegsontheancientandclassicalqinhavesimilaraxialchannelsandside-holes[fig.3].Bothinstrumentshavestringanchorsundertheleftendofthesoundboard,4andsincethisisahighlyidiosyncratictuningmechanismbothinstrumentsappeartobeintimatelyrelated.However,thetuningmechanismonthetwozithersisnotexactlythesame.Modernplayersturnthepegswithfingers,whilepegsonancientqinswerespacedtooclo-selytogethertoaccommodatefingers,andplayershadtousenarrowandtalltuningkeysoriginallymadeofbronzeorsilver.Ononeendthekeyhadasocketthatfitsnuglyoverthepeg,whiletheotherendwidenedintoahandlesumptuouslydecoratedwithfiguresofanimalsandhumans.AfterthesecondcenturyBCEkeysbegantobemadefromironwhichtendstocorrode,andthesemayneverbecomewellknown.Itisalsoquitepossiblethatnotuningkeywasmadeafter100BCE.Figure4showseighteenkeysarrangedapproximatelyinachronologicalsequence,butthisselectiondoesnotexhaustkeysknowntoday(2007).Newonesappearatasteadyrateontheartmarketand,moreimportantly,inexcavations.5ThescenesdecoratingthekeysderivefromthevisualrepertoireassociatedwiththezoomorphicstylethatflourishedinCentralAsiaandChina’snorthernregionduringthefirstmillenniumBCE.Theanimalsdepictedwerecommoninthesesparselypopulatedregions,butlesssoonthecentralplainstothesouth.AlthoughthekeyswereusedfortuningancientqinsincentralChina,theinspirationfortheirdecorationcamefromdistantregionsinthefarnorthandwest,andargueforextremelydistantinfluences.Twoofthekeyscarryagoat-men,e.g.abeingwiththebodyofagoatandtheheadofaman[IandJ,fig.5].SuchhybridfigureswerecharacteristicofAchaemenidartproducedinthePersianempire.ItscapitalPersepolisliesinpresent-dayIran,5000kmtothewestfromcentralChina.Zoomorphicmotifspredominateonthekeys,andtheywerepresentalreadyontheearliestsurvivingexamples.BirdsareshowninreliefonthekeyA,madeduringthesixthorfifthcenturiesBCE[fig.6].Oneachsidetheimagehasacentralverticalsymmetryaxis,withbothsidessharingthesamedesign,makingitnecessarytodescribeonlyonequarteroftheimages.Abird,occupyingmostofthesurfaceontherightsideoftheBoLawergren,TheIconographyandDecorationoftheAncientChineseQin-Zither(500BCEto500CE)48symmetryaxis[fig.6,drawinginthecen-ter],hasalongcurvedbeak,foldedwings,longtailfeathers,andlonglegs,oneofwhichisverylong.Itscurvedbeakandprominentfootidentifyitasaraptor.Ferociousbirdsarefairlycommonsub-jectsonkeys(keysB,H,L),butthisistheonlycasewhereitisshownwithoutaprey.Theimagehasamultitudeofdetailsandhasundergonevisualtransforma-tions.Withthefour-foldduplicationithasbecomeverycomplex,andunabletoclearlyconveyfurtherdetails.Asonsomeearlierkeys,thedesignofthekeyAincor-poratesbirdswithprominentfeathersanddrasticallybentlegs,butthemirrorsym-metryisanexceptionalconcept.There-peatedpattern,giveninfinedetail,mayindicateitwascastinHouma,Shanxiprovince.6Keyswithscenesshowinganimalsoftenincludeacombatandferociousfights.ThemostexplicitbattleisshownonthekeyB,whichhasontopafeline(lionortiger)bitingacrosstheheadofamassivesnakethattwistsandcoilswhileitisbeingrippedbythesharpclawsofthefelinepaws[fig.7].Atthesametime,theragingtigerbattlesalargebirdcoveredbyamassoffeathers.Thebirdpressesupagainstthefelineanditslargebeakpecksatthefeline’shindquarters.Itisacomplexsceneoftriplecombat,makingithardtoseehowitcouldhaveanybearingontheqinoritsmusic.ThissamevisualcompositionisusedonthekeysBandB1whichdiffergreatlyinsize.Arebothkeysgenuine?ThesmallkeyBwasacquiredin1916,andsuchrelativelyearlydatemakesitthemostlikelygenuine.However,twonearlyidenticalcopiesofthelargekeyB1enteredcollectionsatmuchlatertime:oneattheNationalmuseet,Copenhagen,in1947,7andoneattheÖstasiatiskaMuseet,Stockholm,in1968.8Atthetimeoftheacquisitionstherewasnobasisforjudgingtheauthenticity,butwenowknowthefunctionoftheobjectsandcangiveabetterevaluationofthem.Wouldboththesmall(B)andthelargekey(B1)fittuningpegsavailableinthesixthtofifthcenturyBC?Didpegscomeintwosizesatthattime?Thefewpegsweknow,indicatethatsizeschangedmarkedlybetweenthefifthandsecondcenturiesBC[fig.8,upperareaenclosedbyahatchedline],butthesocketsoftheCopenhagenandStockholmkeysappeartoolargeforanypegatanytime.Untillargerpegsarefound,theymustbeconsideredsuspicious.ThekeysDandE,madeaboutfiftyyearslaterthanthekeyB,showgoatsstrikingpeacefulposes[fig.9],asdothemonkeyandthebear[figs.10&11].However,theraptorgrabbingasmallbearinthesharpta-lons,bringsbacktheharshrealitiesofthenorthernsteppe[H,fig.12].Ataslightlylaterdatewasproducedanotherviolentsceneoftwoanimalsinacombat:astandingbirdcurvesbackontoitselfandbitestherearfeathersonitsownbody,meanwhileasmallfelineclutchestotheinnercurveofthebird’sbodyandtriestostrangleitsneckwithaperpendicularbite[L,fig.13].Severalotherkeyshaveanimalswithdrasticallycurvedbodies,aposturethatpermitstheanimalstobitethemselvesviciously[N,O,andP,figs.14–16].Buttherearealsogentlermoments,suchaswhentwomonkeyscaress[K,fig.17],orwrestlersengageinplayfultussle[M,fig.18].Perhapstheyareacrobatslikethemanonanearlierkey[C,fig.19].Allbuttwokeysaremadeofbronze.TheexceptionswereproducedattheendofthefirstmillenniumBC;oneismadeofsolidsilverinlaidwithpreciousstonesandtheotherisbronzeinlaidwithgoldandpreciousstones[R,fig.20].Bothareeliteobjectswhichimplyanextraordinaryhighstatusfortheqin.1.TheqinfoundinthetombofMarquisYiofZeng,433BCE.MusicinArtXXXII/1–2(2007)49Anumberofkeysaredecoratedwithabear.AtthetopofthekeyQthereisarec-tangularopeningwhichcontainsasmalllever[fig.21].Whenpresseddown,itstopsurfaceisflushwiththebear’sbackbut,whenswungup,theleverprojectsabovethebear.Itscross-sectionisanisoscelestriangle.WhenasimilarkeywassoldatChristie’sNewYorkin2000,9thecatalogsuggesteditwas“usedforpluck-ingthestringsofaninstrument”.Ithink,itislikelythattheobjectisaknifeforcuttingtheqin’ssilkstrings,becauseifusedasaplec-trum,thestringswouldnotlastlong.Somemotifs,liketheacrobat,conformtotheroleofmusicseeninothermedia,forexampleHanreliefsshowacrobatsatmusicalperformances.Butthemajorityofkeysbor-rowmotifsfromtheartofthesteppe,whichappeartohavelittletodowiththemusicandtheloreoftheqinasconveyedbytheclassicalliterature.Instead,itpointstoanassociationoftheqinandnorthwesternChina.DECORATIONONTHEQINBODY.Lookingcarefullyattheancientqin,onenoticestwogeometricalfiguresinscribedonthetopsur-face.Oneisnearlysquare,theothernearlycircular.Sincethepatternpersistsonlaterancientqins[fig.2bottom],onesuspectsthatthedecorationhadsomesignificantrole.Thereisalegendaboutthecreationoftheqin,firstdocumentedinca.30AD:themythicalemperorShenNongdecidedtomakeitsothat“aboveitwascircularwhichfollowedthemodelofHeaven;belowitwassquarefollowingthemodelofearth”.10Mostlikely,thesquareandcirclehasthiscosmologicalsignificance.Aftertheancientqinhadtransformedintotheclassicalversion,thecircle-and-squarepatternnolongerap-pearedonthetopsurface.But,curiously,thepatternlurksinsidethebodyoftheclassicalqin,hiddenfromview.Therearetwoshortwoodenspacersinsertedbetweenthetopandbottomplates.Thepieceshavecircu-larandsquarecrosssections,andtheirnamesare“Heavenpillar”and“Earthpillar”,respectively.11ICONOGRAPHYOFTHEQUINTESSENTIALQINPLAYER.InWesternmusiciconographyKingDavidplayingstringinstruments,suchasharps,lyresandzithers,isacanonicfigureofamusician,whowasthesubjectofinnumerableillustrations.SuchalegendaryplayerinChina,whoseinfluencereachedfaroutsidemusic,wasBoyawhoplayednothingbuttheqin[fig.22].InmedievalPersiaasimilarpositionhadkingBahrāmGūr(reigned420–438AD),whoequallystronglyinfluencedPersianimagery.Bahrāmwasknownforhisex-travagantloveofhuntingandwomen.HisfavoritemistresswasĀzādeh,aGreekslaveskilledinharpplaying.TheirexploitsweretoldinthePersiannationalepicŠāhnāmeh(اهنامهbyAbūl-QāsemFerdowsī(ش(940/41–1019or1025AD),andillustratedinmanysumptuousbooks.OnthishuntingexpeditionBahrāmpullsthestringofhishuntingbow,andĀzādehplucksthestringsofherharp[fig.23].Boyawasnotjustamusician,butwastheembodimentofalife-stylethatstillisavitalconceptinChineseconsciousness.12HeandhiscompanionZhongZiqiarefirstmentionedinthemid-thirdcenturyBCEbyLüBuwei(ChancellorofChina251–246BCE):2.Topandbottomviewsofextantqin-zithers.BoLawergren,TheIconographyandDecorationoftheAncientChineseQin-Zither(500BCEto500CE)50WheneverBoyaplayedtheqin,ZhongZiqiwouldlistentohim.OncewhenBoyawasplayingtheqin,histhoughtsturnedtoMountTai.ZhongZiqisaid,“Howsplendidlyyouplaytheqin!Loftyandma-jesticlikeMountTai.”Ashorttimelater,whenBoya’sthoughtsturnedtorollingwaters,ZhongZiqisaid,“Howsplendidlyyouplaytheqin!Rollingandswellinglikearushingriver.”WhenZhongZiqidied,Boyasmashedtheqinandcutitsstrings.Totheendofhislife,heneverplayedtheqinagainbecausehefeltthattherewasnooneintheworldworthplayingfor.13ThepassageconcernsBoya’smusicianshipandmoralcharacter.Asaqinplayerheisskillfulenoughtomakethemusicevokesubtlefeelingsanddepictvariedlandscapes.Heisalsoluckyenoughtohaveaperceptivecompanionattunedtosuchnuances.Therelationshipisonebetweenmasterandstudent.Thestoryturnsmetaphoricalwhenthetextcontinues....hefeltthattherewasnooneintheworldworthplayingfor.Thisappliesnotonlytothelute,buttoworthinessaswell.Althoughamanisworthy,ifheisnotreceivedbyarulerwithduecourtesy,whyshouldhedevotehisfullloyaltytohim?Boya’sstorydealswithrefinedmusicanditsreception,thebondbetweenlike-mindedpeople,deathandtheconsolationsfoundinnature.SucharemeaningsassociatedwiththeBoyaiconography.IllustrationsofBoyaarecommononcircleandsquarebronzemirrorsmadeintheearlycenturiesoftheChristianera,whichhaveinscriptionsidentifyingBoyaandothercharacters[fig.24].14Typically,onereads:Boyaisperformingmusic,whiletheflockofdeitiesshowtheirfaces...Maytheownerhavewealth,nobleposition,peaceandquiet;mayhissonsandgrandsonsmultiplyandprosper.Withextendedyearsandincreasedlongevity,hislifeallotmentwillbeprolonged.153.Tuningmechanismsofancientandclassicalqin-zithers.Pegsretainedsimilarfeaturesfor,atleast,2400years,butkeyswerediscontinuedaftertheendofWesternHandynastyinca.9CE.MusicinArtXXXII/1–2(2007)51ThemirrorsoftenshowtwocompanionstoBoya,oneoneachside[fig.25],andithasbeensuggestedthatbothareaspectsofthecompanion,onewhoperceivesthequietudeofloftymountains,andonewhohearstheroarofrushingrivers.16However,amirrorfromtheearlyHandynastyhasBoyawithonlyonecompanion[fig.26].ThepeakofpopularityofthestoryaboutBoyaoccurredduringthefirstthreecenturiesoftheChristianera,andafterthemiddleofthefirstmillenniumAD,Boyaandhisqinlargelydisappearedfrommirrors.AlthoughitwasduetoanupswinginDaoismwhereBoyasharedthespotlightwiththeYellowEmperorandotherdeities,hisqinwasanessentialpartofthemirror’svisualmessage.EventhoughBoyawasonlyasymbol,hisqinwastoutedasanessentialpossessionofthewenren,thecultivatedandlearnedgentleman.Ofcourse,bythistimetuningkeyswerenolongerused.Butshortlybefore,theytoo,hadshownthegreatprestigeoftheqin.PlayerslikeBoyahadraisedthestatusoftheqintogreatheights;ithadbecomeworthyofthemostluxuriousaccouterments,suchashighlyornamentedgoldandsilvertuningkeys.4.TuningkeysarrangedchronologicallyfromthesixthtothefirstcenturyBCE.Theirdatingismostlybasedonanarthistoricalevaluation,withtheonlyarchaeologicallysecuredateassignedtokeyO(129BCE).Itisuncertainwhetherornotthelastchronologicalmarkerat100BCEisapplicableinthetimelinesincekeysP,Q,andRmaybelongtothesecondorfirstcenturyBCE.Allkeysaredrawnonthesamescale.Forprovenance,seefigs.5–21markedwithlettersthatrefertothisfigure.BoLawergren,TheIconographyandDecorationoftheAncientChineseQin-Zither(500BCEto500CE)52ICONOGRAPHICPOSTLUDE:DREMANUELWINTERNITZ.ThispaperwasgivenataconferencehonoringEmanuelWinternitz.Forthelastfouryearsofhislife,Iconsideredhimamarvelouscompanionfullofsmartobservationsonorganologyandiconography.HisstoriesaboutmusicallifeinNewYorkdecadesbeforeourmeetingskeptmeamusedatmanydinners.Insteadofroamingmountainsandjumpingacrossstreams,wefrequentedGermanrestaurantsonEast86thStreet.Winternitzwasthenworkingonhislastbook,LeonardodaVinciasaMusician.Afterseveralyearsofdiscussion,proofreading,andindex-making,IcametoknowsmallcornersofLeonardoandEmanuel.17ThelittlenoteinmycopywillsurelybringbackhisViennesesmiletomanyofus.NOTES1Nowusuallycalled“guqin”(=oldqin)inChinasincethewordqin,whichhistoricallyonlyreferredtothezitherconsideredhere,latelyhasacquiredawidermeaningof“stringinstrument”.Iuseqininitshistoricalmeaning.2AnalysesofitsstructureandimplicationsforChinesemusichistoryhavebeendiscussedinBoLawergren,“Strings”,MusicintheAgeofConfucius.Ed.byJennyF.So(Washington:FreerGalleryofArtandArthurM.SacklerGallery;SeattleandLondon:UniversityofWashingtonPress,2000),65–85;andidem,“MetamorphosisoftheQin,500BCE–CE500”,Orientations34(May2003),31–38.3TheKoreankomun’goalsohastuningpegs.4Theanchorontheclassicalqinalsofunctionasfeet.5ThelatterweresummarizedinBoLawergren,“WesternInfluencesontheEarlyChineseQin-Zither”,BulletinoftheMu-seumofFarEasternAntiquities75(2003),79-109,esp.93–94.6ForcharacteristicsofHoumacasts,seeRobertW.Bagley,“WhattheBronzesfromHunyuanTellUsAbouttheFoundryatHouma”,Orientations26(January1995),46–54.7WhenNationalMuseumwasofferedthekey(considereda“poleornament”),itsoughttheopinionsofthetwowell-knownSwedishspecialistsProfessorOsvaldSirén,whoconsidereditauthenticandaproductofEasternHan(25–220AD),andProfes-sorBernhardKarlgren,whofoundit“undoubtedlygenuineandofgoodquality”anddatedit“ca.400–300”BCE.However,CrownPrinceGustafAdolfofSweden(laterkingGustafVIAdolf)alsoinspectedit.Hewaskeenlyinterestedinarchaeology,especiallyChinese,andhadanoutstandingcollectionofChineseantiquities.Hedidnotleaveawrittenopinion,butreportedlyfoundthatit“stylisticallybelongedtothethirdcenturyBCanddoubtlesswasaforgery”.8ThelatterwaspartofTheErnestEricksonCollectiondo-natedtothemuseum,andthecircumstancesofErickson’spur-chaseisnolongerknown.9Auctioncatalog,FineChineseCeramics,PaintingsandWorksofArt,Thursday21September2000(NewYork:Christie’s,2000),lotno.175.10TimotheusPokora,Hsin-lun(NewTreatise)andOtherWritingsbyHuanT’an(43B.C.–28A.D.):AnAnnotatedTranslationwithIndex.MichiganpapersinChinesestudies20(AnnArbor:CenterforChineseStudies,UniversityofMichigan,1975),181.11RobertHansvanGulik,TheLoreoftheChineseLute:AnEssayintheIdeologyoftheCh’in.MonumentaNipponica(newed.,Tokyo:SophiaUniversity;Rutland:CharlesE.Tuttle,1969),193andfig.20.12Foranaccessibleaccount,seeibid.,97–98whousestheWade-GilesromanizationPoYa.13JohnKnoblock&JeffreyRiegel,TheAnnalsofLüBuwei:ACompleteTranslationandStudy(Stanford:StanfordUniversityPress,2000),308.14TwofiguressitoneithersideofBoya.SusanCahillhassuggestedtheyaretwodifferentversionsofZhongZiqi.SuzanneCahill,“BoyaPlaystheZither:TwoTypesofChineseBronzeMirrorintheDonaldH.GrahamJr.Collection”,BronzeMirrorsFromAncientChina:DonaldH.GrahamJr.Collection.Pref.andcataloguebyToruNakano(Honolulu:DonaldH.Graham,Jr.,1994),56.15Ibid.,51.16Ibid.,56.17EmanuelWinternitz,LeonardodaVinciasaMusician(NewHaven:YaleUniversityPress,1982).MusicinArtXXXII/1–2(2007)53PICTURECREDITS:Fig.25:Ju-hsiChou,CirclesofReflection:TheCarterCollectionofChineseBronzeMirrors(Cleveland:ClevelandMuseumofArt,2000),no.38<>Fig.21Q:Christie’s,FineChineseCeramics,PaintingsandWorksofArt,Thursday21September2000(NewYork:Christie’s,2000),no.175<>17K:Christie’s,TheFalkCollectionI.ImportantChineseCeramicsandWorksofArt.Thursday20September2001(NewYork:Christie’s,2001),no.182<>Fig.19C:J.J.Lally&Co.,ArchaicChineseBronzes,JadesandWorksofArt,June1to25,1994(NewYork:J.J.Lally&Co.,1994),no.58<>Fig.15Omiddlekey:idem,ArtsoftheHanDynasty,March25toApril11,1998(NewYork:J.J.Lally&Co.,1998),no.25<>Fig.21Q:idem,AncientChina:Music&Ritual,March20toApril7,2001(NewYork:J.J.Lally&Co.,2001)<>Fig.9D:BoLawergren,“ToTuneaString:DichotomiesandDiffusionsbetweentheNearandFarEast”,Ultraterminvmvagari:ScrittiinonorediCarlNylander.Ed.byBörjeMagnusson,StefaniaRenzetti,PaoloViano&SeverJ.Voicu(Roma:EdizioniQuasar,1997),175–19