the archaistic fanghu form with a rounded lower body rising from a spreading foot to a tapering square neck flanked by tubular handles of square section, the body cast in relief with taotie masks surrounded by inverted S-form spirals below a field of swirling waves, the handles and foot with leiwen

The vase with a restored and consolidated U form break to the foot and areas of restored losses on three sides of the base just above the foot. There is wear overall with tiny nicks to edges and rims and minor imperfections consistent with age and type.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Compare the waves on the present fanghu with those cast on a bronze handled hu with punched inscription above the foot corresponding to the year 1173, now in the Victoria and Albert Museum, London, and illustrated in Rose Kerr, 'Rethinking some Later Chinese Bronzes,' Arts of Asia, Nov-Dec 2013, p. 93, fig. 7. Kerr discusses the Song dynasty penchant for ancient bronze vessels and the likely dependence upon line-drawn woodblock prints for the recreation of the vessels. Without access to the genuine articles, artisans looked to sources such as the Bogu tulu, compiled around 1123, and these line-drawn depictions of Zhou dynasty and other archaic bronzes likely influenced the clear outlines of archaistic decoration in many Song bronzes, as seen on the present example.