Chinese Bronzes from the Meiyintang Collection Volume 2 Christian
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Collecting Karamono Kodō 唐物古銅 in Meiji Japan: Archaistic Chinese Bronzes in the Chiossone Museum, Genoa, Italy
Transcultural Perspectives 4/2020 - 1 Gonatella Failla "ollecting karamono kod( 唐物古銅 in Mei3i Japan: Archaistic Chinese 4ronzes in the Chiossone Museum, Genoa, Ital* Introduction public in the special e>hibition 7ood for the The Museum of Oriental Art, enoa, holds the Ancestors, 7lo#ers for the ods: Transformations of !apanese and Chinese art collections #hich Edoardo Archaistic 4ronzes in China and !apan01 The e>hibits Chiossone % enoa 1833-T()*( 1898) -athered during #ere organised in 5ve main cate-ories: archaistic his t#enty-three-year sta* in !apan, from !anuary copies and imitations of archaic ritual 2ronzes; 1875 until his death in April 1898. A distinguished 4uddhist ritual altar sets in archaistic styleC )aramono professor of design and engraving techniques, )od( hanaike, i.e0 Chinese @o#er 2ronzes collected in Chiossone #as hired 2* the Meiji -overnment to !apan; Chinese 2ronzes for the scholar’s studioC install modern machinery and esta2lish industrial !apan’s reinvention of Chinese archaismB 2ronze and production procedures at the Imperial Printing iron for chanoyu %tea ceremony), for 2unjincha %tea of 4ureau, T()*(, to instruct the youn- -eneration of the literati,, and for @o#er arrangement in the formal designers and engravers, and to produce securit* rik)a style0 printed products such as 2anknotes, state 2ond 4esides documenting the a-es-old, multifaceted certificates, monopoly and posta-e stamps. He #as interest of China in its o#n antiquit* and its unceasing #ell-)no#n also as a portraitist of contemporaneous revivals, the Chiossone 2ronze collection attests to historic 5-ures, most nota2ly Philipp-7ranz von the !apanese tradition of -athering Chinese 2ronzes 9ie2old %1796-1866, and Emperor Meiji %1852-1912, r. -
Download Article (PDF)
Advances in Social Science, Education and Humanities Research, volume 490 Education, Language and Inter-cultural Communication (ELIC 2020) An Overview of the Study of Interpretations on Bamboo Slips From Caifengqumu, Zhaowanghuishi & Zhaowangyugongzhitun, Jiandawangbohan in Shangbo Bamboo Slips (IV) Yanmei Zhang1,* Shaofang Wu1 1School of Foreign Languages, Wuhan Institute of Technology, Wuhan, Hubei, China *Corresponding author. Email: [email protected] ABSTRACT There are 9 bamboo books in the Warring States period in Shanghai Museum, which are precious historical materials for studying the characters and culture of Chu in the pre-Qin period. Since its discovery, experts and scholars have been studying it. In this paper, there are four aspects closely related to the study of interpretation, i.e. the compilation and connection of bamboo slips, the interpretation of words and sentences, the translation of interpretation, cultural background, etc. A comprehensive review of relevant studies on three bamboo slips in volume 4, i.e. Caifengqumu, Zhaowanghuishi, Jiandawangbohan, inside and outside China is conducted in this paper. Keywords: Shangbo bamboo slips (IV), Caifengqumu, Zhaowanghuishi, Jiandawangbohan There are only 6 bamboo slips in Caifengqumu, I. INTRODUCTION which is a series of songs catalogues compiled by the Chu bamboo scripts appeared in Hong Kong music officials of Chu state. There are 39 pieces of cultural relics market in 1994 which was collected by repertoires, which are classified and marked by 4 Shanghai Museum. The time and place of its excavation famous tune names of Gong, Shang, Zhi and Yu, have not been confirmed. It is said that it came from making oral literature and folk song tunes spread for a Hubei, China. -
Chinese Collection: a Closer Look at Designs
Chinese Collection: A closer look at designs Ritual covered wine vessel, fangyi, Bronze, late Shang dynasty, c.1250-1050 BC © Compton Verney Taking time to make close observations, make sketches and collect images you are drawn to is a great starting point for your own design and art work. Take a really close look at the intricate patterns found on the objects and ritual bronze vessels in the Chinese Collection. Follow this link to look closely it will take you to the gallery guide which includes lots of fascinating images. Don’t forget to double click on the images to enlarge them Spend some time looking at the different objects, what do you notice? What shapes and pattern stand out to you? Are they just patterns or do they resemble something? Share your observations with someone at home Challenge: Focus on 2 or 3 objects Try to recreate the patterns you can see, sketch them onto paper or a notepad Really try to copy the detail and shapes Make a variety of sketches, they can be of a whole design or of a detail Keep them safe, you can use these sketches to help with the next activity! You will need: Paper or sketch book Pencils, pens Focus and concentration! Compton Verney ART GALLERY & PARK Chinese Collection: A closer look at designs Some examples to get started. But take a close look at the images on our website. Ritual wine vessel, zhi, Bronze, early Western Zhou dynasty, Ritual wine vessel, hu, Bronze, late Western Zhou dynasty, c.1050-950 BC © Compton Verney c.850-771 BC © Compton Verney Ritual wine vessel and cover, you (detail) © Compton Verney Compton Verney ART GALLERY & PARK . -
Ceramic's Influence on Chinese Bronze Development
Ceramic’s Influence on Chinese Bronze Development Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2007 Photos on cover page Jue from late Shang period decorated with Painted clay gang with bird, fish and axe whorl and thunder patterns and taotie design from the Neolithic Yangshao creatures, H: 20.3 cm [34]. culture, H: 47 cm [14]. Flat-based jue from early Shang culture Pou vessel from late Shang period decorated decorated with taotie beasts. This vessel with taotie creatures and thunder patterns, H: is characteristic of the Erligang period, 24.5 cm [34]. H: 14 cm [34]. ii Table of Contents Abstract Approximate timeline 1 Introduction 2 Map of Chinese Provinces 3 Neolithic culture 4 Bronze Development 10 Clay Mold Production at Houma Foundry 15 Coins 16 Mining and Smelting at Tonglushan 18 China’s First Emperor 19 Conclusion 21 References 22 iii The transition from the Neolithic pottery making to the emergence of metalworking around 2000 BC held significant importance for the Chinese metal workers. Chinese techniques sharply contrasted with the Middle Eastern and European bronze development that relied on annealing, cold working and hammering. The bronze alloys were difficult to shape by hammering due to the alloy combination of the natural ores found in China. Furthermore, China had an abundance of clay and loess materials and the Chinese had spent the Neolithic period working with and mastering clay, to the point that it has been said that bronze casting was made possible only because the bronze makers had access to superior ceramic technology. -
Social Complexity in North China During the Early Bronze Age: a Comparative Study of the Erlitou and Lower Xiajiadian Cultures
Social Complexity in North China during the Early Bronze Age: A Comparative Study of the Erlitou and Lower Xiajiadian Cultures GIDEON SHELACH ACCORDING TO TRADITIONAL Chinese historiography, the earliest Chinese state was the Xia dynasty (twenty-first-seventeenth centuries B.C.), which was lo cated in the Zhongyuan area (the Central Plain). The traditional viewpoint also relates that, over the next two millennia, complex societies emerged in other parts of present-day China through the process of political expansion and cul tural diffusion from the Zhongyuan. Some scholars recently have challenged this model because it is unilinear and does not allow for significant contributions to the emergence of social compleXity from areas outside the Zhongyuan. Recent syntheses usually view the archaeological landscape of the late Neolithic Period (the second half of the third millennium B.C.) as a mosaic of cultures of compar able social complexity that interacted and influenced each other (Chang 1986; Tong 1981). Nevertheless, when dealing with the Early Bronze Age, the period identified with the Xia dynasty, most archaeologists still accept the main premises of the traditional model. They regard the culture or cultures of the Zhongyuan as the most developed and see intercultural interaction as occurring, if at all, only within the boundaries of that area. One of the most heated debates among Chinese archaeologists in recent years has been over the archaeological identification of the Xia dynasty. The partici pants in this debate accept the authenticity of the historical documents, most of which were written more than a thousand years after the events, and try to cor relate names of historical places and peoples to known archaeological sites and cultures. -
Chinese Ritual Bronzes: Meaning and Explanation,"Lqoi.Com
ChineseRitual Bronzes: The pqrplexitvgf vesselgr4a{nentation ffiffi ChadMorris ANTH 445-A1A: Technologyof Cultural Materials- Metals Prof.C. Reedy 10 December2002 Monis 1 ene of the great artistic achievemenfsof fhe makersof ancient Chinesebronzes was the feat of binging togetherthe sfrapeof a vessel,which the artisanwas not free to choose,and an abstractanimal fonn, which wasgovemed by its symbolic, perhaps even magic significance...without"subiecting one element ta the uncompromisingexpressiveness of fhe other.' Thus beginsa 1965essay by Eleanorvon Erdberg. In this statement,she has summatedthe entireworld of Chinesebronze ritual vessels, calling attention to boththe strict parametersof vesselform and the mysteryof vesselomamentation. Through much study it has beenfound that, in ancientChina, vessel form was restrictedby functionality.The studyof their ornamentation,houever, has been,since the beginnlngsof regearchof Chinesebronze, a perplexingguestion burning in the mindsof thoseconcerned with the significanceof these bronzesin China'svast history. Thereforethe questionof the intrinsicvalue and implicationsof the ornamentationof Chineseritual bronze vessels in ancientChinese ociety shallbe the focus of this paper. The originsand meaningsof the ornamentationon Chinesebronze ritualvessels have beenspeculated about at leastsince the SongDynasty; houever, the originsof bronze metallurgyin Chinahave only recentlybegun to be understood.lt has beentheorized for many yearsthat bronze-workingtechnology in Chinahad beenintroduced from an outsideculture such as Siberiaor West or $outhemAsia. Recentevidence and study,though, has createda much strongerargument for the independentdevelopment of this technologyin the fairly isolated HuangheBasin. The earliestexample of metaluse in Chinahas comein the form of h^/ocopper pendants.These were discovered in 1955,and have beenattributed to the LongshanCulture of presentdayHunan Province, dating to about40@ yearsago. Bothare unadorned,have a hole at one end and lrreremost likely worn as ornamentg. -
Nine Provinces‟: Some Parallels with Transmitted Texts1
EASTM 32 (2010): 13-58 The Rong Cheng shi 容 成 氏 Version of the „Nine Provinces‟: Some Parallels with Transmitted Texts1 Vera Dorofeeva-Lichtmann [Vera Dorofeeva-Lichtmann, Ph.D. (1992) in History (Sinology), Moscow State University, is Chargé de Recherche at the CNRS in Paris. Her publi- cations include Graphics and Text in the Production of Technical Knowledge in China: The Warp and the Weft (co-editor), Leiden/Boston: Brill, 2007; “Ritual Practices for Constructing Terrestrial Space (Warring States-Early Han),” in: HdO Early Chinese Religion. Part One: Shang through Han (1250 BC-220 AD), Leiden-Boston: Brill, 2009.] * * * 1. Introduction The Rong Cheng shi manuscript is the largest text among the so-called Shanghai Museum manuscripts on bamboo slips (Shang bo cang jian 上 博 藏 簡) considered to be of Chu 楚 provenance2 and dated to the mid through the late fourth century BC. Since the slips were looted from a Chu tomb, precise place and date of this find are unknown.3 It is, howev- er, commonly accepted that the manuscripts originate from a Chu aristo- cratic tomb closed shortly before the Chu court was obliged to leave the capital at Ying 郢 (Hubei area) in 278 BC.4 1 I am truly grateful to Yuri Pines for having alerted my attention to this man- uscript and for his valuable remarks, and to Wolfgang Behr, Maria Khayutina and Marina Kravtsova for their comments concerning different aspects of this study. My special thanks to John Moffett for corrections of my English. All mis- takes found in this paper are my own reponsibility. -
Inscriptional Records of the Western Zhou
INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one. -
Maria Khayutina • [email protected] the Tombs
Maria Khayutina [email protected] The Tombs of Peng State and Related Questions Paper for the Chicago Bronze Workshop, November 3-7, 2010 (, 1.1.) () The discovery of the Western Zhou period’s Peng State in Heng River Valley in the south of Shanxi Province represents one of the most fascinating archaeological events of the last decade. Ruled by a lineage of Kui (Gui ) surname, Peng, supposedly, was founded by descendants of a group that, to a certain degree, retained autonomy from the Huaxia cultural and political community, dominated by lineages of Zi , Ji and Jiang surnames. Considering Peng’s location right to the south of one of the major Ji states, Jin , and quite close to the eastern residence of Zhou kings, Chengzhou , its case can be very instructive with regard to the construction of the geo-political and cultural space in Early China during the Western Zhou period. Although the publication of the full excavations’ report may take years, some preliminary observations can be made already now based on simplified archaeological reports about the tombs of Peng ruler Cheng and his spouse née Ji of Bi . In the present paper, I briefly introduce the tombs inventory and the inscriptions on the bronzes, and then proceed to discuss the following questions: - How the tombs M1 and M2 at Hengbei can be dated? - What does the equipment of the Hengbei tombs suggest about the cultural roots of Peng? - What can be observed about Peng’s relations to the Gui people and to other Kui/Gui- surnamed lineages? 1. General Information The cemetery of Peng state has been discovered near Hengbei village (Hengshui town, Jiang County, Shanxi ). -
Originally, the Descendants of Hua Xia Were Not the Descendants of Yan Huang
E-Leader Brno 2019 Originally, the Descendants of Hua Xia were not the Descendants of Yan Huang Soleilmavis Liu, Activist Peacepink, Yantai, Shandong, China Many Chinese people claimed that they are descendants of Yan Huang, while claiming that they are descendants of Hua Xia. (Yan refers to Yan Di, Huang refers to Huang Di and Xia refers to the Xia Dynasty). Are these true or false? We will find out from Shanhaijing ’s records and modern archaeological discoveries. Abstract Shanhaijing (Classic of Mountains and Seas ) records many ancient groups of people in Neolithic China. The five biggest were: Yan Di, Huang Di, Zhuan Xu, Di Jun and Shao Hao. These were not only the names of groups, but also the names of individuals, who were regarded by many groups as common male ancestors. These groups first lived in the Pamirs Plateau, soon gathered in the north of the Tibetan Plateau and west of the Qinghai Lake and learned from each other advanced sciences and technologies, later spread out to other places of China and built their unique ancient cultures during the Neolithic Age. The Yan Di’s offspring spread out to the west of the Taklamakan Desert;The Huang Di’s offspring spread out to the north of the Chishui River, Tianshan Mountains and further northern and northeastern areas;The Di Jun’s and Shao Hao’s offspring spread out to the middle and lower reaches of the Yellow River, where the Di Jun’s offspring lived in the west of the Shao Hao’s territories, which were near the sea or in the Shandong Peninsula.Modern archaeological discoveries have revealed the authenticity of Shanhaijing ’s records. -
Title <Translated Article> Western Zhou History in the Collective
<Translated Article> Western Zhou History in the Collective Title Memory of the People of the Western Zhou: An Interpretation of the Inscription of the "Lai pan" Author(s) MATSUI, Yoshinori Citation 東洋史研究 (2008), 66(4): 712-664 Issue Date 2008-03 URL https://doi.org/10.14989/141873 Right Type Journal Article Textversion publisher Kyoto University 712 WESTERN ZHOU HISTORY IN THE COLLECTIVE MEMORY OF THE PEOPLE OF THE WESTERN ZHOU: AN INTERPRETATION OF THE INSCRIPTION OF THE "LAI PAN" MATSUI Y oshinori Introduction On January 19, 2003, twenty-seven bronze pieces were excavated from a hoard at Yangjiacun (Meixian county, Baoji city, Shaanxi province).l All the bronzes, which include twelve ding ~, nine Ii rn, two fanghu 11 if., one pan ~, one he :ii\'t, one yi [ffi, and one yu k, have inscriptions. Among them, the bronzes labeled "Forty-second-year Lai ding" ~ ~ (of which there are two pieces), "Forty-third-year Lai ding" (ten pieces), and "Lai pan" ~~ (one piece) have in scriptions that are particularly long for inscriptions from the Western Zhou period and run respectively to 281, 316 and 372 characters in length. The inscription of the "Lai pan," containing 372 characters, is divided into two parts, the first part is narrated from Lai's point of view but employs the third-person voice, opening with the phrase, "Lai said." The second part records an appointment (ceming :IlJt frJ) ceremony that opens, "The King said." The very exceptional first part records the service of generations of Lai's ancestors to successive Zhou Kings. The inscription mentions eleven former kings, King Wen X3:., King Wu TIk3:., King Cheng JIlG3:., King Kang *3:., King Zhao BR3:., King Mu ~~3:., King Gong *3:., King Yi i~3:., King Xiao ~(~)3:., King Yi 1J$(~)3:., King Li Jj1U (J~)3:. -
Piece Mold, Lost Wax & Composite Casting Techniques of The
Piece Mold, Lost Wax & Composite Casting Techniques of the Chinese Bronze Age Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2006 Table of Contents Abstract Approximate timeline 1 Introduction 2 Bronze Transition from Clay 4 Elemental Analysis of Bronze Alloys 4 Melting Temperature 7 Casting Methods 8 Casting Molds 14 Casting Flaws 21 Lost Wax Method 25 Sanxingdui 28 Environmental Effects on Surface Appearance 32 Conclusion 35 References 36 China can claim a history rich in over 5,000 years of artistic, philosophical and political advancement. As well, it is birthplace to one of the world's oldest and most complex civilizations. By 1100 BC, a high level of artistic and technical skill in bronze casting had been achieved by the Chinese. Bronze artifacts initially were copies of clay objects, but soon evolved into shapes invoking bronze material characteristics. Essentially, the bronze alloys represented in the copper-tin-lead ternary diagram are not easily hot or cold worked and are difficult to shape by hammering, the most common techniques used by the ancient Europeans and Middle Easterners. This did not deter the Chinese, however, for they had demonstrated technical proficiency with hard, thin walled ceramics by the end of the Neolithic period and were able to use these skills to develop a most unusual casting method called the piece mold process. Advances in ceramic technology played an influential role in the progress of Chinese bronze casting where the piece mold process was more of a technological extension than a distinct innovation. Certainly, the long and specialized experience in handling clay was required to form the delicate inscriptions, to properly fit the molds together and to prevent them from cracking during the pour.