Evening star., 1936-02-02
Bv Leila MechHn.
PAIR of magnificent bronze

Freer Gallery of Art and are now on
view in q gallery devoted exclusively
to ancient Chinese bronzes.
No other such tigers are known to
exist. They are splendid beasts,
nearly 8 feet in length from nose to
tip OF tail end, heavy in shoulder and
hindquarter; short of leg; broad in
towl; pointed ears, upright, listening;
keen seeing eyes: lips drawn back dis
playing two rows of jagged teeth, offset
by two short, protruding tusks, on either
side. Not at all the kind of creature
one would wish to meet on a dark
night or even in ones dreams. The
two are very similar, but not identical.
They have been placed in the center
OF the gallery, in a case, both headed
in the same direction, but the second
is raised by a low pedestal to
slightly higher level, which prevents
monotony and creates the atmosphere
of composition. Despite the fact that
In both instances the feet are exactly
parallel, there is great sense OF on
ward motion, especially when seen
from the front, and the feeling con-
Veyed to the observer is that OF the
silent, relentless pursuit.
The sleek tiger of Bengal was not,
evidently, the prototype OF these
tigers in bronze, but rather the
the heavier animal bred in the noun
tains of Tibet from the West China
border of which these rare exhibits
came. They were, it is thought.
made for socket supports, because of
ridged openings, rectangular in shape,
in their backs. This would explain
the frmness with which the feet are
planted and the great weight of the
bronze But what they supported is
neither known nor surmised.
To an extent. these tigers, appar-
emily cast separately by the lost
wax" process, were what we would call
today "stylized' by their maker, or
makers. The fur is indicated by con-
ventional pattern, extraordinarily well
adapted to the purpose and at the
same time ornamental. But even so,
these creatures, which have come to us
from such remote past, art vitally
alive One feels vitality in the keen
seeing eyes and in the long curving
tails. so surely an index to emotion
in all branches of the cat tribe. 1t is
startling and amazing.
Judging from the patina, these
tigers must have long lain buried in
the earth to which we owe their pres
ervation. Iconoclasts of subsequent
dynasty not only destroyed the writ
ings of the Chou period, but melted
the bronzes and recast them in new
shapes. The same thing happened
more than once, so the wonder is that
any of these earliest of all remain.
Not many do, yet in this same gallery
wherein the tigers are to be seen,
are also on view several bronze YES
sels also of the Chou dynasty, 1922
n55 BIC. They are very interesting.
One having four legs and three han
dies, is decorated in low belief and
has a bird as final on the cover; an
other has three feet, third is Ike
an ark in shape and has superb
patina, light green and golden brown,
while a fourth, likewise purposed for
ceremonial use, is ornamented by
heads of moose and other horned
creatures. very handsomely.
These bronze vessels were, at the
time they were made, the central OBJ
jects of the grand ceremonial OBJ
servances of the state, as we'll as
the symbol of the possession OF the
imperial power According to the
Ritual of Chou" officers OF lower
rank could not use the same number
or size of vessels as those used by one
of higher rank, and thus they came
to serve as insignia of Office. Such
ceremonial vessels were also used as
suitable gifts from princes to ministers
and official dignitaries. They come
to us. therefore, as tokens Of a cilivill-
cation exceedingly remote but evidently
very highly developed, and they wit
ness to the existence OF an art lar
older than any of which we have
intimate knowledge. That art is, in
deed, so deep rooted that it gives as
surance of NEUTRALITY-SUSPICIOUS. as
surance in this time of rapid change
and puts to shame the supposition
that what we do or leave undone can
more than temporarily impede its
growth or change its direction. A
salutary message from the past.
So remarkable is this assemblage OF
early Chinese bronzes that it has been
said by experts that this gallery is
unsurpassed in Importance. Further
more, all of the exhibits are beautifully
displayed, so that the collection as a
whole makes very effective and uni
fed showing. With but two excep-
tions, all the exhibits in this assem-
blage of bronzes have been acquired
since Mr.. Freer's death, which fact
demonstrates anew his wisdom in per-
mitting his collection to be added to
and providing funds for such acquisi-
ton. But 1t should not be forgotten
that the Freer collection of Oriental
art had its inception during the donors
lifetime and owes an incalcuable
amount to his vision and wise fore
thought.
On the eve Of a trip to the East in
May, 1909, he wrote friend in Wash
innton, "The art Of the Orient keeps
calling louder and louder, and I am
compelled to be away from America
much Of my time. However, the work
increases in interest, and I feel that
the collections in my charge are being
constantly improved and enlarged"
Upon his return the following year.
he reported, "The collection OF art OF
the Nearer East has more than
doubled, and the same is true OF the
department of Chinese paintings and
sculptures" adding: Il am by de-
grees getting few superb specimens
Of early Chinese bronzes. China is the
great country Of successful quest at
present" How greatly would he have
delighted in these splendid fruits OF
later quest, which, now, through his
benefcence, are made available to the
public.