Chinese Bronze Vessels

Introduction
Antique of Chinese art was enhanced using various inventions discovered in the industrial world, and this made artwork to transform effectively many years ago. Furthermore, the equipment used such as paintings, textiles, sculpture, pieces of calligraphy and ceramic date back to 5000 years ago. However, the mechanism involved in blending these various elements of art together enabled the establishment of what is commonly known as Chinese art. Despite the sophisticated long writing tradition on art, art exhibition, collected art and art consumption that had existed within the China Elite, the popularity and interest on the Chinese artwork was more in North America and Europe in the 19 century than in China itself. The Chinese artwork existed in Western countries as an object for review that had to be contrasted with other artworks from various global cultures.
Background history of the Bronze Age in China
The aspect of Chinese art focuses on self-contained ideologies about the country`s natural, social, religion, political and ethnic composition. For example, many artworks project the country`s deserts, mountains, oceans and human evolution as stated by China `s own civilization theories. Chinese art incorporates an astonishing involvement of progressive technology, cultural awareness, and ancient culture to showcase its uniqueness. For example, Xianrendong Cave Pottery that was extracted in Jiangxi province is an example of artwork that utilized popular ceramic from other nations like Siberia to present its uniqueness (Clunas, 15).

The main origin of Chinese culture was around the great Yellow River that cuts the North China plain. The region was considered a suitable place for settlement by many people in the late 4000 BCE (Clunas, 15).
Consequently, the growth of the Bronze Age enabled people to make useful items through manipulating the metal ores. The Bronze Age is recorded as the era that marked the progressive stage of human development into civilization. In the past, people who adopted the use of metal were referred to Neolithic, but currently, archaeologists termed the entire episode as the Bronze Age. The structural composition of bronze is mainly a combination of an alloy of tin and copper (Clunas, 18). The Bronze element was used in making various tools such as weapons, utensils, and ornaments. However, it had a strong impact in the artwork universe. For example, bronze and copper items were very expensive in the entire globe (Clunas, 15). Therefore, any item made of bronze were bought primarily for showing off rather than for its intended use. The developed of iron made equipment such as weapons, agricultural tools, utensil or ornaments to be cheaper and this made bronze to be left as a symbol of elite status or for royalty (Clunas, 15).
Functions of Chinese Bronze Vessels
In the ancient Chinese dynasties, almost all bronze items had its specific role. Additionally, bronze goods were synonymous with an immense unique energy that made it be a magnificent object. In the artwork universe, bronze items were generated to meet a very qualified level of both artistic and technical sophistication. This is mostly during the Zhou and Shang period in China kingdom rule. For example, the bronze artworks were established for ritual purposes either for presentation or preparation of offerings that were in the form of drinks, incense, foods, and flowers which were directed to the ancestors. Additionally, bronze artworks were significantly utilized in furnishings tombs that were linked to ancestor worships. For example, evidence of pieces of white plaster walls that are painted in black and red was recovered in China old tombs. This gives a hint of the visual culture that existed during the Shang dynasty.
To prove the existence of the Shang dynasty, archeologists have relied entirely on items surrounding the dead from various tombs recovered. In the tomb of Fu Hao, they discovered bronze goods and ornaments. She was believed to be a royal lady and the wife of King Wu Ding. Archeologists extracted her tomb in 1976 (Clunas, 37). When carbon dating was done on her remains, it stated she had existed in 1200 BCE. In her tomb, more than 200 bronze vessels, several weapons and almost seven hundred jade objects that were utilized for ritual purposes and individual adornment were recovered in her tomb (Clunas, 45). More ever, the durability nature of bronze has been of great assistance in describing ancient Chinese art. The mechanism of making items from bronze was done in sets through ensuring object of identical form varies in the elaboration of decoration and size. This was mainly due to the differing ceremonial purpose such as royal feasting, funeral decoration, sacrifices to ancestors or according to the wealth status of the owners (Clunas, 53).
On the other hand, ancient culture and belief have been identified through incorporating the concept of the methodology of structuralism. In this system, phenomena are portrayed on the underlying structure of the object that can reflect meanings. The chronology of varying beliefs has been established through reviewing several surviving bronzes. In another system known as formalism, art-historical tradition can be expressed through evaluating the external features of the objects such as the pure technical characteristic involved in designing the item or the casting process used that can express the intrinsic rule used in the stylistic development of the motifs. This system when thoroughly evaluated it expressed the vanished belief through reviewing the formula used in the decoration. For example, the bronze vessels found in Fu Hao tomb had structures that conveyed the message of prestige and power around its body.
Besides, bronze vessels believed to have existed during the Shang period were preserved for a longer duration under the ground (Indiana University, 1). This is because they were buried in great tombs that were slid using superstructural walls. Kings used the bronze vessels in ancient eras for banquets performed in the temple such as offering sacrifices to royal ancestors. They royal family were buried with their respective bronze vessels to represent that they will continue with their sacrificing duties to the higher power even in the afterlife before they can graduate into becoming an ancestor.
In the Zhou kingdom, bronze items were used by the king to reward loyal followers. These events were marked through casting inscription on top of the bronze gifts offered by the King (Indiana University, 1). Different inscriptions were recorded in many bronze items such as chariot fittings, jades, accouterments of aristocratic living and weapons. Therefore, according to the Zhou kingdom, the inscription performed on the bronze items ensured that it was cherished by the family from one generation to another (Indiana University, 1). More ever, the inscription sometimes transcribed the system used during rituals banquets where foods were given to the ancestors. In the Zhou ritual vessels, the inscriptions were done inside the vessel with the intention of attracting the ancestor’s eyes so that they can increase their blessings after enjoying the sacrifice.
The Artistic Nature of the Chinese Bronze Vessels
Simultaneously, bronze vessels were used in ancient China to project the artistic creations of many artists. For example, through the inscribed design, it captured the imagination of the makers. For instance, popular bronze vessel recovered have projected a fantastic animal world that is occupied with monsters, snakes, dragon, cicadas, and regal birds that are either real or fantasies to the artist drawing them. The amount of animal imagery within a bronze vessel can highlight the culture of the owner (McGovern and Patrick, 196). For instance, in Shang dynasty, bronze vessels were covered with a single motif that was based on varying frequency, design, size, and central placement that can vividly express the community fears. In another design of symmetrical monster mask inscribed within bronze vessels such as the Taotie image in classical texts tend to suggest that the beast of uncontrolled greed was around and the society needed the ancestor’s assistance (Indiana University, 1). Even though it is hard to determine the actual meaning of the taotie in various motifs in regards to Shang traditions and culture, it is believed that this structural design had a direct symbolic purpose.
The Taotie was very common in bronze vessels from the Shang dynasty. The main attribute incorporated an animal-themed mask that has two eyes, tail nose, and sometimes the taotie may have fangs, ears, jaws, horns and eyebrow. Alternatively, other versions have shown an animal-like splint body that has tails and legs (Indiana University, 1). In varying analysis, the taotie mask was different depending on time and place of creation. The jade carving on various bronze vessels was also used to expressed the Shang`s technical and artistic language based on jade artwork tradition. For example, there were different types of jade such as ritual jades that were used in sacrificial offerings, funeral customs, sealing treaties with other nations, and as procedural duties inside the king courts.
The ancient Chinese paints incorporate a technique referred to as Chinese calligraphy. This technique is done using a brush that is dipped in a colored or black ink (McGovern and Patrick, 256). Most paintings are drawn either on silk or paper and when done the finished artwork can be fitted on scrolls that can be hung. Additionally, ancient Chinese artworks were done on walls, folding screen, album sheet and lacquerware. Far from that, in painting techniques, ancient Chinese used either Gong-bi or the Shu-mo to paint. In Gong-bi, that is also known as meticulous, usually, incorporates intensely detailed brushstrokes that express detail very vividly (McGovern and Patrick, 276). This system often releases painting that is highly colorful to the extent of projecting a narrative and figural subjects. This mechanism of painting was mainly utilized by artists who were employed in royal courts or artists who had an independent workshop. For example, painting of flowers and birds were usually done using this system.
In Shu-mo technique, gentlemen mostly utilized this painting technique. It is more of a freehand style painting system (Indiana University, 1). The colors are less bright, and the detail is not projected vividly. In traditional Chinese culture, the idea of painting the tomb is not unique. In the past, tombs were painted in the quest of assist the dead person`s soul get to paradise or protect him in the afterlife. On the other hand, Chinese portraits were very formal, and they were used within the family to show the ancestor veneration. The imperial portraits tended to be more flexible, but they were not showcased outside the court. The landscape painting is rumored to occupy most of the ancient Chinese drawing recovered. However, artwork can be done on papers, walls, folding screen, silks, album sheet and lacquerware are completely different to art performed on the bronze item surfaces.
The Art on the Surface of the Chinese Bronze Vessels
In bronze vessels artwork, the symmetrical pattern of taotie is commonly utilized. The taotie was a figurative monster face myth that had the power to bring rain and land fertility to the society. The main attribute incorporated varying animal-themed masks that had two eyes, nose, and sometimes they incorporated fangs, ears, jaws, horns and eyebrow in their structures (McGovern and Patrick, 186). Alternatively, other versions have shown an animal-like splint body that has tail and legs. In many bronze vessels, the taotie is linked to dragon figure that also has a mythical power among the Chinese community. Other objects involved in bronze artwork include battle sword, chariot wheels, horse and other animals like snakes. These objects printed on in almost all ancient bronze vessel have a significant meaning to the society such as it recorded events, ritual procedures, social status, and royalty (McGovern and Patrick, 209).
Ritual vessels were also common in the Zhou Dynasties. This is because, during this era, the Chinese society was intensely involved in ritualistic cultures (The Metropolitan Museum of Art, 1). Religious events were the prime highlight for the entire society, and they made it successful through making sacrifices to please the Goddesses and Gods in whom they had faith in thoroughly. In the Shang dynasty that followed the Zhou Dynasty adopted the cultures but they had bronze made sacrificial jars as utensils for performing rituals. Five hundred years later after the Zhou Dynasty, the Warring States was established, and many diverse Chinese cultures were reformed (The Metropolitan Museum of Art, 1). This incorporated significant changes in the craft and art industry that influenced artwork`s transformation and the invention of the new technique. For example, bronze was used to develop vessels like Hu and Fangyi that were used for storing and pouring liquids such as wine or blood in rituals that were widely performed in ancient China.
Consequently, many bronze vessels from the Shang era have been unearthed in a place called Erlitou. This area is currently known as Luoyang in the small district of Henan. It is believed this region was the capital heartbeat of the Shag dynasty and also the capital Xia dynasty. In this region, they recovered fine jades, oracle bones, and simple bronze vessels (The Metropolitan Museum of Art, 1). Ritual bronze vessels were also recovered from various ancient tombs.
In Shang era, the ideology of ritual bronze vessels was more than the elegance of the items owned but the status it possessed. For example, it was also a symbol of command, power, and respect. The vessels were cast through utilizing ceramic piece molds that were created around a clay model. The used mold was imprinted with customized design from the clay model. Furthermore, the model was curved through cutting down the mold so as to allow the bronze to be poured into the space created between mold and model. The piece created were unique due to the nature of the ceramic piece molds that was usually broken down to give the bronze inside as the final product. The leading elites used bronze vessels to conduct rituals (McGovern and Patrick, 156). The various bronze vessels in these rituals were necessary for holding wine, food, water, for serving or for heating. Bronze was often used due to its uniqueness, intricate, precise designs and the motifs that were drawn on their surface. The arts printed were usually fascinating.
Examples of Chinese Bronze Vessels
Gui vessel
The Gui vessel is a food vessel that was designed using bronze and it was customized effectively through the application of Chinese art. The Gui vessel is currently available in the British Museum for public viewing. The two handle of this vessel is customized with four taotie masks that are both in the core band (UCSD, 1). Secondly, spiral motifs occupy the other two bands that are based on its foot and neck. At the center upper band, an animal head is visible. The inscription on the bottom of the vessel is based on four qualities that are reading Gui that is also translated as the grandfather. While some are branded Ding, that also refers to a father. These types of the inscription were common during the Zhou and Shang dynasty. The use of parent named inscription system was necessary so as to appeal more to the close ancestral spirits when seeking guidance (UCSD, 1).
The Gilt-bronze Buddha
This is a bronze figure of the Buddha that was made in the Tang dynasty almost around 907 to 618 A.D. It is made of bronze and its height is 8 inches. Alternatively, the Buddha is an important aspect of the Asia tradition that started between the eighth and twelfth century. The spread of Hellenism influenced by Alexander`s conquest caused a significant change in religious ideology in India and Asia in general. For instance, Buddhism managed to spread from Indian Mauryan Empire to the core Asia and into eastward Chinese. The Monk used the Silk route established by Alexander`s conquest to spread their Buddhist ideologies into Chinese. Lastly, Roman and Hellenistic art have significantly portrayed the Buddha. In the past, Buddha used to be represented symbolically without any human based image (UCSD, 1). However, the Greek structured an anthropomorphic image to represent Buddha and in the same way reflect the human aspect of his teaching and lifestyle. In Chinese art, the durability of bronze was used to craft the Buddha so that it can last for a long period and also signify the strength of eternity possessed by a god (UCSD, 1).
Hu vessel
Contrarily, the Hu vessel was utilized in the Shang dynasty for wine and other ritual functions. Many Hu vessels were recovered in tombs. This is because wine was also incorporated in major ritual activities. Additionally, the Hu vessel has inscriptions on its surface believed to be communicating a specific message that was directed to an ancestor inside the grave (UCSD, 1). The wine was offered to ancestors using the Hu vessels. Additionally, the Hu vessels are customized with symbolic figures popular in the ancient Chinese world. For example, the Hu vessel surface has varying Taotie, dragons, demon face, realistic birds, and animals drawings (UCSD, 1). In ancient China, the Taotie that is also known as dragon face was synonymous with rain and land fertility in the society. Therefore, many farmers worshiped these symbols in the quest of receiving rain and fertile land.
Houmuwu ding
This is a rectangular ding that was built using bronze many years ago. In the Shang dynasty, the Houmuwu ding was used as a sacrificial vessel (UCSD, 1). Currently, it is being hosted inside the National Museum of China. The inscription inside the vessel tends to indicate that it was created for the Queen mother called Wu. This means the vessel was dedicated to the wife of Wu Yi who was also the King of Shang between 1147 and 1112 BC (UCSD, 1). The entire Houmuwu ding is decorated with figures like dragons, Taotie, tiger, human head and battle axes.
The jue vessel`
The jue vessel is a complex pottery tripod vessel made of bronze during the Shang dynasty. It was meant for holding wine during ritual ceremonies. The jue vessels were also recovered inside tombs, and they vary in design and inscription on their surface. The entire jue vessel is decorated with figures such dragon, Taotie, tiger, human heads, and battle axes determine with the era it was made.
Jue vessel and the dragon myth
In many occasions, the Jue vessels were designed in a dragon shape and they were commonly used in public ritual. For instance, such Jue vessels could be crafted using many artworks and symmetrical patterns. However, the monster face and the dragon are the ones that are always vividly projected on the vessels. In the Chinese culture, the dragon was a great creature that was endowed with a lot of power (Hinsbergh, 1). It was believed to have power over the land, water, rainfall, hurricanes just to mention a few. The dragon was also used in the Chinese culture to signify strength, power, and good luck. As early as 206 BC-220 AD, the emperors were symbolized by the dragon as they believed it would bring them good fortune. Several legends can explain the origin of the dragon (Hinsbergh, 1). One of these explanations is through the Totem-worship theory. A totem refers to something that is used as an emblem that reminds a people of their beliefs and ancestry. People using a certain animal as an emblem usually believe that they are related by blood to the particular animal. However, no one has ever claimed with proof that they saw a dragon. This presents us with a really interesting question, what is a dragon?
As depicted by images and drawings, the dragon’s body is comprised of distinct features that are found in various animals. For instance, it has the beard of a goat, the paws of a tiger, the belly of a snake, and the scales of a carp. It is believed that Huangdi engaged Yandi into physical confrontation in the quest of the new owner of the throne from the collapse Chi You reign. Huangdi won the battle and thus he adopted in his coat of arms the use of an imaginary Dragon. Huangdi later fought a series of battles against nine tribes. After winning the battles, he took the other tribes’ emblems and incorporated them into his. Therefore, this explains the various physical attributes of the dragon. After the unification of the tribes, Huangdi became a monarch ruling the central plains of China (Hinsbergh, 1). Since then, the use of the dragon emblem became popular all over China. The supernatural power and abilities the dragon is believed to possess can be said to the power and strength that the empire had after the unification of the tribes into one strong and powerful empire. Therefore, in incorporating the design of the dragon in public vessels project a symbol of unity for the entire society. Many rituals were conducted in public. Hence, unity symbol like the dragon served a useful purpose.
Ritual food vessel
The ritual food vessels were used for holding rice and millet that were divided into matching halves. It was popular during Zhou and Shang kingdom. More ever, the decoration involved dragons, Taotie, tiger, human head and sometimes the battle axes.
The Heavenly Horse
This was a bronze figure of a horse that was built in the Han dynasty in the 220 A.D. In regards to ancient Chinese culture, horses were not normally used for farming or domestic activities. Instead, it was utilized for military functions and as a symbol of status. Producing this form of status through using bronze was very expensive. Therefore, this was utilized by rich and royal people of the society. Additionally, this was placed inside Chinese elite men tomb to symbolize the chariot pulling them to the afterlife.
From the above examples, it proves that the aspect of Chinese art is based on self-contained ideologies about the country`s natural, social, religion, political and ethnic composition. For example, the artworks are derived from deserts, mountains, oceans and positions of human evolution as stated by China `s own civilization theories.
Conclusion
In conclusion, almost all bronze vessels in China had its specific roles. More ever, bronze goods were synonymous with an immense unique energy that made it be a magnificent object. In the art universe, bronze items were generated to meet a very qualified level of both artistic and technical sophistication during the Zhou and Shang period in China. For example, the bronze arts were established for ritual purposes either for presentation or preparation of offerings of drink, incense, food, and flower that are directed to the ancestors. Additionally, bronze art was significantly utilized in furnishings tombs that are still linked to ancestor worships. All in all, bronze vessels were used in ancient China to project the artistic creations. For example, through the inscribed design on the bronze vessel surface, it captured the imagination of makers. For instance, popular bronze vessel recovered have projected a fantastic animal world that is occupied with monsters, snakes, dragon, cicadas, and regal birds that are either real or fantasies to the artist. The amount of animal imagery within a bronze vessel can highlight the culture of the owner.
Work Cited
Clunas Craig. Art in China. Oxford History of Art, 1997.pdf.print
Indiana University. Shang Ritual Bronzes. Indiana University Website, 2010. http://www.indiana.edu/~g380/3.6-Bronze-2010.pdf
Hinsbergh, G, V. The Chinese Dragon: a Symbol of Strength and Power. China highlights website, 2015.http://www.Chinahighlights.com/travelguide/article-chinese-dragons.htm
McGovern, Patrick E., et al. “Fermented beverages of pre-and proto-historic China.” Proceedings of the National Academy of Sciences of the United States of America 101.51 (2004): 17593-17598.
The Metropolitan Museum of Art. Shang and Zhou Dynasties: The Bronze Age of China. Depart of Asian Art website, 2004http://www.metmuseum.org/toah/hd/shzh/hd_shzh.htm
UCSD. Early Chinese Bronze. UCSD education website, 2016.http://pages.ucsd.edu/~dkjordan/chin/bronzes/BronzeStuff.html#liquid