Paul Bromberg is the author of Later Chinese Bronzes for the Scholar’s Studio: The Bromberg Collection (2025). He is also a contributing editor to the Hong Kong-based Arts of Asia magazine, and author of Thai Silver and Nielloware, published by River Books (2019). A British citizen living in Bangkok, he is a serial collector and author.
He speaks with WorldArtNow:
Q: Why did you feel there was a need for this book?
I have been studying the subject of what are now commonly termed “later Chinese bronzes”, i.e. bronzes made from the 12th to the end of 19th century, for almost a decade. Although many of these bronzes, created under differing artistic, cultural and economic conditions over almost a millennium, were for a long time considered “low grade” or mere copies of archaic bronzes, over the last forty years scholarship has reassessed the genre. Many are superb and creative artworks in their own right and are clearly not mere reproductions. While there is now a considerable amount of information on the subject matter in Chinese and English, it is, however, scattered across numerous diverse publications. I began my collection with scroll and paperweights about which little has been written, and then realised that it might actually be helpful to academics, curators and collectors if there was one reference book focusing on scholar’s objects made in bronze during this (very lengthy) period.
I should also add that when I first set out to write the essays in my book, little did I know that the Metropolitan Museum of Art in New York would this year also be holding a ground-breaking exhibition on the broader category of later Chinese bronzes that also re-evaluates this intriguing art form. As an aside, it’s a wonderful exhibition and definitely worth visiting if in New York.
Q: What aspect of the book are you most pleased with?
A: I am actually very pleased with the entire book. This is the first book published by Arts of Asia and I think Robin Markbreiter (the magazine’s publisher and editor) and his team have done an outstanding job with the layout, the design, the cover, paper quality, etc. I think it makes a nice coffee table book thanks to the superb detailed pictures, but equally I hope there is sufficient information in the essays for anyone interested in the subject matter.
Q: What was the actual process for producing the book?
A: I began thinking about writing the book about eighteen months before publication. I started by undertaking research for each essay and making notes over a period of six months. This is the part of the process that I enjoy the most. I then sat down and wrote the text. Each essay probably took me about a week to complete. I enjoy the writing process, which is actually a matter of constant refinement – looking for that correct word or turn of phrase – although I also tend to keep wandering to the fridge looking for snacks so writing is definitely not good for my waistline!
I arranged for photos to be taken of my entire collection and then had the tough decision of whittling down which pieces to include in the catalogue. This was probably the toughest part of the process. I sent the text and photos to the publisher, who then prepared the layout which took about one month to complete. In all, the publication team and I must then have proofread the layouts at least ten times over a three-month period. I also added a few late additions to the collection and catalogue right at the end, which required further work for me on the text and for the publisher on the layout. Once we were all happy with the text and layout around the end of November, the publisher printed the book in Hong Kong in mid-late December before taking it to Shenzhen in January where it was bound before being returned to Hong Kong for sale.
Q: How did you become interested in Chinese material culture?
A: I studied Chinese at the University of Leeds which included one year (1982-1983) as an undergraduate at Fudan University in Shanghai. After graduating in 1985, I studied at Xiamen University for a year on a British Council postgraduate research scholarship. During my two separate years in China, I visited many museums and historic sites. I came to love Chinese art in general and must have absorbed knowledge of the material culture – such as the tea ceremony in XIamen – probably without even realising it. I studied Chinese calligraphy for a year too. Although I was hopeless (at calligraphy), I was in awe of my teacher and gained a deep appreciation of the skill required to master this important art form.
Q: Most of the items in the book are from your private collection. Do you feel that actually owning and thus having immediate access to the items was especially helpful with your understanding of the area and your research?
A: Yes, I do. It is all very well looking for a few minutes at the best of the best in a museum, at an auction viewing or in a dealer’s gallery, but there is nothing like repeatedly examining pieces in your own collection at your leisure in good light in the comfort of your own home. I often saw things that I had not noticed before – some good, some bad – and was also able to handle each bronze object. This is important, as these objects are very tactile – they were meant to be handled by scholars in their studios. I also built up at home a large collection of Chinese and English language publications on the subject to which I repeatedly turned. Again, this was important as I would otherwise have had to visit Hong Kong (from Bangkok) to undertake the requisite research.
Q: The book is more than a catalogue – it also includes several informative essays. In what way do you feel the book pushes out the boundaries of our understanding in this area?
A: I am not sure that I pushed many boundaries, but I did try to synthesise a large amount of existing information into one easily readable volume accompanied by many photographic examples of different forms and designs. I decided that I wanted to include one essay that provides an overview of the form and function of these bronzes. I also thought it important to write specifically about later Chinese bronze “paperweights” (a catch-all term for a number of scholar’s objects that had dual functions on the scholar’s desk). I don’t recall anyone having previously written about paperweights other than in exhibition and auction catalogues.
Q: Chinese scholar’s objects were not made for export and yet most of the items in the book were sourced outside China. How do you think they got there? And is it easy for collectors to find scholar’s objects in China today?
A: There was an enormous flow of Chinese art, crafts and antiques to the West throughout the 19th century and the first half of the 20th century as the market for Chinese art expanded rapidly. While the flow has reversed direction over the last two decades, there are still fine examples of Chinese antiquities for purchase in the US, UK and Europe.
Yes, I am sure it is possible to find scholar’s objects in China today, but there were two reasons for my not sourcing my collection in China. First, I simply have not visited there in the last decade. Second, the Chinese market is awash with reproductions, even more so than the West although there are plenty of reproductions there too. Unfortunately any collector of Chinese art must be extremely knowledgeable and careful about what they are buying.
Q: Is there sufficient interest in mainland China in scholar’s items, or is most of the interest with collectors outside China, in the US perhaps?
I think Chinese scholar’s objects have grown in popularity across the world over the last thirty years, There is definitely great interest too in China. There have been a number of exhibitions in recent years and many publications on the subject. The Met’s “Recasting the Past 1100-1900” exhibition will transfer to Shanghai Museum in November this year. The exhibition includes a number of fine bronze scholar’s objects that will fascinate and delight visitors to the exhibition.
LISTEN TO A PODCAST in which Paul Bromberg discusses Later Chinese Bronzes.
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