A RARE ARCHAIC BRONZE HANDLE FOR A BELL ( YONG )Eastern Zhou dynasty, 6th-5th century B.C. Made in sophisticated casting techniques, the crouching winged chimera with horned taotie mask gnawing on its back to form a loop for suspension of the bell, its tail curled and hanging in mid-air, its claws firmly clamp to the raised collar of entwined serpents near the base of the handle, below three constrained loops showing finely-relieved panels in between, the base originally attached to a ritual bronze bell ( yong zhong ), now lost and neatly finished with sheet metal, pottery casting core remains on the interior. 11 1/8in (29.5cm) long 東周 青銅甬 Provenance: Paula Heuser Antiquitäten, Hamburg, 29 Juillet 1933 Collection Hermann Rosenfeld, Hamburg Acquired from the descendant of Hermann Rosenfeld, the owner consigned to Christie's Paris, 13 December 2018, lot 511 來源： Paula Heuser Antiquitäten, 德國漢堡，1933年7月29日 Hermann Rosenfeld舊藏，德國漢堡 Hermann Rosenfeld的後人售出，買家又售於巴黎佳士得，2018年12月13日，拍品編號511 It is extremely rare to see a three-dimensional crouching mythical beast on the side instead of a simple loop. Although, according to Pi Daojian in Chu yishushi (The History of Chu Culture), Wuhan, 1995, it is not out of the realm in the late Spring and Autumn to early Warring States period that sculptural elements were incorporated to serve as functional parts. The constrained loops and gently bulging bundle on this handle demonstrates the artistic choice and extreme care to details. The intricate relief pattern is unique and may have been influenced by lacquer or textile designs of the period. Although fragmentary, the sculptural quality of this piece is self evident. The present example belonged to a ritual bronze bell ( yong zhong ), which is known for its straight sides and arched rim, allowing the bell to strike two tones. Another feature of yong zhong is placing the loop at the base of the shank ( yong ) for suspension, tilting the bell at an angle for more stability when striking. Music and rites were integral parts of Zhou dynasty rituals. The use of musical instruments was reserved for the ruling class and strictly regulated according to court hierarchy. The highly sophisticated ritual music is best represented by the 1977 discovery of the Tomb of Marquis Yi of Zeng ( circa 433 B.C.), where aplete set of 64 bronze bells was preserved, still installed on its multi-level L-shaped wooden structure. A large Eastern Zhou bronze yong bell handle was collected in the early 20th century by the American connoisseur Charles B. Hoyt, is illustrated by H. Tseng and R. Dart, The Charles B. Hoyt Collection in the Museum of Fine Arts: Boston , Volume I, Boston, 1964, no. 122. The decoration on the Hoyt example is more geometric,posed of entwined serpents flat to the surface, with a bird-form head on the side. The bird's beak forms a faceted loop. Two yong zhong attributed to 6th-5th c