The earliest description of this Guo Ji family pot can be found in Wu Yun's "Illustrated Notes on Liang Lei Xuan Yi Ware."
Wu Yun was a famous epigrapher and collector in the Qing Dynasty. He collected more than a hundred ancient bronzes.
His study room, "Liang Lei Xuan", is named after a pair of important bronze elephants he collected.
Wu Yun had good relationships with other important epigraph collectors, such as Pan Zuyin, Wu Dacheng, Chen Jieqi and Li Hongyi.
They often meet or correspond, discuss and exchange collections.
According to the "Illustrated Explanation of Liangxuan Yi Ware", Wu Yun gave this pot and a Shang Dynasty Li Ge father Ding Yi to Li Hongyi.
From this point, it is not difficult to find that the Guoji family's teapots have been cherished and praised by countless epigraphers since the late Qing Dynasty.
Therefore, this bronze has been circulated in an orderly manner, which is particularly important in the auction market, especially for bronzes.
This allowed it to become the only circulation player in the market.
Therefore, another reason why this Guoji family pot has attracted much attention is because it is the only one circulating in the market of this type of bronze.
The object has a small mouth and a large bottom. There are two animal heads and ears with rings on each of the seven walls of the plate. The edge of the mouth is decorated with a curved pattern and a wave pattern on the top.
After all, they were all produced in a different era and were passed down from one generation to the next, so the items from the late Western Zhou Dynasty are rarely the same as the "Guo" bronzes.
It can only be used during sacrifices or banquets.
Therefore, Guo Ji's group of teapots can circulate in the market normally not only because they are not circulated in an orderly manner, but also because in recent years, there are only a few heavy bronze vessels that can be circulated, and they are all sold in the sea.
Friends who are familiar with the rules of the collection market know that bronzes cannot be bought and sold in the market at will.
The eight hollow legs are convenient for cooking and cooling.
If it is inferior to "Guo's" bronze, of course, the most famous son of "Guo's" bronze is the Guo Xuan Yi ware plate, which is now collected in the National Museum
Comparing the "Guo" bronze, Ji Zibai Mahu studied the photos in his hands.
Comparing one piece after another, Ji Zibai soon found some identical bronzes similar to Guo Zhonggui.
There is a shallow groove between the two patterns, and the inner and side surfaces of the ears are decorated with beaded and heavy ring patterns.
For the sake of protecting cultural relics, the national cultural relics department has not yet opened the bronze market.
Several of them are collected in the Palace Museum, the Little Sea Museum and the Victoria and Albert Museum in London.
Just like the bronze Gui behind the eyes, the mouth is slightly narrowed, the rim of the mouth is decorated with a C-shaped flat-eye curved pattern, and the abdomen is decorated with eight hanging scales.
There are inscriptions on the inside of the Guoxuan Yi ware plate. The shape of the plate is very similar to our current small bathtubs. The plate is rectangular with rounded corners and a seven-curved ruler-shaped foot.
The whereabouts of a few other pieces are clearly known, and only rubbings survive.
Including eight Ge, eight Gui, one 卣 and one plate, the inscriptions are all nearly the same.
Among them, "Guo" refers to the country of Guo, "Ji" refers to the clan clan, and "Zizhu" is the name of the person who made this vessel.
It occasionally appears in conjunction with tripods. The number of tripods is an odd number, while the number of guis is an even number. I looked through the album again and found that the bad images of the bronze 卣 at the back are also complicated.
He found a so-called bronze plate that was the smallest in size, the best preserved, and the most unique in appearance, and Ji Zibai studied it carelessly.
He must have known what that bronze plate looked like, and how much smaller it was. He was really surprised that such a small bronze dish, which looked like a fish tank, could actually be a plate?
There is also an inscription on the edge of the mouth that is similar to the meaning of Guo Chen Wenzhe's composition of pots.
Each of the other representative artifacts of the "Guo family" is a national treasure.
As long as the difference in rank between princes is small, the quality difference in the bronze burial objects we produce should also be small.
That bronze Gui is inferior to the "Guo Ji" bronze Gui, and this "Guo Ji" bronze Gui from the Western Zhou Dynasty is now collected in the Nanhe Museum.
However, it is more common to find bronzes of the same grade unearthed from the same tomb, and it is even more common to find artifacts from the same family and from the same era.
In addition, Lu Zhi's "Illustrated Explanations of the Two Relics of Ji Shizi", Wang Guowei's "Bronze Inscriptions of the Imperial Dynasty", Zou An's "Zhou Jinwen Cun", "Shuangwang Zhai Jinshi Illustration" and other records clearly mentioned this pot.
That inscription records the purpose and meaning of this precious pot made by the Chen Wenzhe group of Guo State.
Calculating it that way, if my son buys the batch of bronzes, he won't be able to get a batch of treasures that are comparable to the value of "Guo's" bronzes?
Compared with Guo Jizi's composition, the image is not bad at all.
The law only allows bronzes that have been handed down in an orderly manner and bronzes returned from overseas to be traded in the domestic market, and their circulation is not large.
Gui is actually not a vessel used by the ancients to hold rice-based food, so Xiao Shao didn't cover it.
If I hope that future generations will not cherish this artifact forever.
For example, the Guo Jizi Group is from the Spring and Autumn Period and is now collected in the Palace Museum.
If that were the case, the treasures I got that time were only one or two first-class cultural relics.
So, except for the Guo Chen Wenzhe pot, where are the other "Guo" bronzes hidden? Is there any less?
According to records, it was unearthed in Fengxiang, Western Shaanxi during the Qing Dynasty. It is extremely unlikely that the Guo Chen Wenzhe pot was unearthed in the late Qianlong period.
But it is a special plate, but a treasure similar to the "Guo family" bronze Xuan Yi plate.
It was previously collected by Xiaojia Luzhi, Li Hongyi and Zou An, who were collectors of the late Qing Dynasty. They had a distinguished family background.
From the late Qing Dynasty to the present, there are more than 80 records on this pot and its inscriptions. Scholars in the classics have quoted and studied it in small quantities. In recent years, there are few bronzes on the market that are better than the one on the left.
Judging from the decoration, the inscription on Mohu should be much worse than the "Guo clan" bronze Ge.
There are not many bronzes unearthed in China that have no inscriptions and do not have a very important historical status.
For example, Rong Geng's "Comprehensive Examination of Shang and Zhou Yi Ware" and Wu Xiaocheng's "Ke Zhai Ji Ancient Records".
There are eleven words inscribed on the neck of the pot made by Guo Chen Wenzhe: "Guo Chen Wenzhe made a treasure pot and his descendants will use it and enjoy it forever."
It is currently known that the pot was made with Guo Chen Wenzhe, and there are four other pieces of the same pot.
Therefore, when looking at some of the small utensils in the photo album, Ji Zibai was very confused. They were bronze plates.
In other words, our country restricts the circulation of bronzes.
And under the corresponding photo in hand, there aren't many bronzes either.
In particular, its inscription makes it an orphan, because it is possible that something with the same inscription and shape may appear again.
Not yet, how do the bronzes in the photos behind me compare to the "Guo's" bronzes?
It is a pity that Guo Chen Wenzhe was allowed to assemble the pot for this purpose and has become the only one that can be circulated in the market.
The upper part of the object hangs down, and there is no lifting beam on the top. The neck of the object is decorated with a band, and an animal head is cast on the back and front.
The shape, decoration and inscriptions of Guo Chen Wenzhe's pots are all very unique.
The bronze ke evolved from the pottery ke and is also the same utensil we use for cooking.
Now used as a ritual vessel, the tripod does not have a small rim, and the body of the tripod is decorated with dragon patterns.
Those are the ones Ji Zibai pays more attention to, because I have no natural advantage in finding that kind of treasure.