Page 73 - China, 5000 years : innovation and transformation in the arts

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practicality were superbly integrated, as exemplified
by the Fuhaoxia zun in this exhibition (cat. 24).
It is noteworthy that the bronzes with the most
distinctive animal designs are often found far from
Anyang, in peripheral areas of the Shang domain.
For instance, the pig zun and elephant zun in this
exhibition (cats. 27, 25) were unearthed in Hunan.
Moreover, Shang bronzes from places other than
Anyang, particularly those from Hunan and Jiangxi
provinces, which lie south of theYangzi River, do
not merely differ in their form from those at
Anyang but are often conspicuously more ornate.
This kind and degree of difference merits our
attention. Why were these most lavish Shang
bronzes not unearthed in the area that was the
political and economic center of the Shang dynasty,
but rather in places so distant as to be regarded as
barren wilderness in that era? Their exquisite
craftsmanship indicates that these pieces could not
have been cast in such places, and the names of
individuals and clans cast on some of the bronzes
show that they were possessions of some of the
great clans of central China. Archaeological data
gathered during their excavation shows that
—unlike the bronzes found at Anyang the vast
majority of them were not burial furnishings, nor
are there any signs that they were ever used in sets
for rituals. They were generally buried at various
sites atop mountains or along the banks of rivers. It
is highly possible that these choice samples of
Shang bronzes were specially imported into the
peripheral regions, where they were regarded as
expressions of respect and admiration for Shang
culture. In 1963 an animal mask you was unearthed
in Ningxiang, Hunan Province. Inside this vessel
were over a thousand solid and tubular jade beads.'
This exhibition features the Ge you, from a royal
tomb in Ningxiang, Hunan Province, which also
contained over three hundred jade beads, jade
pieces, and tubular jade beads (cat. 26). An animal
mask pou found in Hunan contained over two
hundred small bronze ax heads. From this, we can
see that in this outlying region Shang bronzes were
preserved as a form of wealth. Perhaps future
archaeological discoveries will elucidate the
formation and nature of this cultural phenomenon.
The most common decorative motif found on late
Shang bronzes is the zoomorphic mask formerly
known as the taotie pattern. This was generally
executed in clearly layered relief against a dense and Shang practices. 1 ate Shang and earl) Western
fine-lined intaglio spiral pattern. In particular, the
eyes of the mask were made large and prominent,
enhancing the mysterious, solemn, and intimidating
Onaspect of the image. late Shang bronzes small
birds or small dragons often flank the mask, with
bird patterns the more frequent. This type of design
composition has ancient historical origins. Late
Neolithic jade cons from the Liangzhu culture.
RITUAL BRONZES EPITOME OF ANCIENT CHINESE CIVILIZATION 71
which existed in what is now Jiangsu, Zhejiang,
and Shanghai, were often carved with images of
deities represented by their two eyes. Often, a bird
in flight was placed on each side of the deity, with
the birds' heads turned away from the central
image. The heads of the birds accompanying the
zoomorphic masks on late Shang bronzes are the
same as those on the Liangzhu culture jades,
indicating that this type of decoration was an
adoption and continuation of the traditions of
Liangzhu culture. Oracle bone inscriptions describe
the phoenix as the Wind God and also the envoy of
the Celestial Emperor, 7 entrusted with the mission
of relaying information between Heaven and
humans. An animal mask flanked by bird patterns
may have been an image of deity. The decorative
motifs on Shang bronzes always invoke the Celestial
Emperor and various spirits; they were not merely
more or less stylized animals. Rather, they expressed
a strong religious desire for communion between
Heaven and humans and for blessings from the
Celestial Emperor and various spirits. The birds
flanking the zoomorphic masks may represent the
phoenix as emissary in these transactions. The great
flourishing of decorative art on Shang bronzes
manifests religious aspiration.
The casting of Shang bronzes was done in pottery
section molds. Specially prepared clay was made
into the number of external and internal mold
sections required by a particular shape. Patterns and
inscriptions were carved or incised into the
external mold sections. After being thoroughly
dried and fired, the mold sections were fitted
together and reinforced to form a complete mold,
which was fitted with a cover containing a pouring
hole for the bronze to enter and one or more holes
through which air bubbles would be expelled.
Molten bronze was poured between the inner and
outer molds. After the bronze had cooled, the mold
was broken and the bronze removed and given .1
final finishing and polishing. Shang workmanship in
the making of pottery molds was extremely hue.
and set the highest standards in the ancient world
for the casting of bronze pieces in pottery molds.
Pottery molds were used exclusively to cast bron; es
through the Eastern Zhou, after which additional
methods were introduced.
WESTERN ZHOU BRONZI S
(IITH CENTURY-771 BCE)
Early Western Zhou (ea. [050-ca. 975) bn
making was to a large extent a continuation ot late
Zhou are often considered as .1 single and
supreme period in the evolution of Chinese bronze
making. Withal, the Zhou people differed
significantly from the Shang people in their
political organization, religion, and cultural
> on< epts, differences concretely manifested as time