Post on 20-Apr-2023
Reinventing the Past ltilie Period Archaism and Antiquarianism in Chinese Art and Visual Culture Mtive Period
tille Period
~rine R Tsiang Edited by Wu Hung
2005
rid War 1
tappen
Korean Art
lhe Cemer for the Art of East Asia University of Chicago
Art Ivfedia Resources Chicago
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1 ARCHAISM ANTIQUARIANISM AND CHINESE
ART HISTORY
Reviving Ancient Ornament and the Presence of the
Past Examples from Shang and Zhou Bronze Vessels
Jessica Rawson
Introduction
T wo Ii vessels from the same Western Zhou (ca 1050-771 BCE) tomb
near Beijing display radically dilferen t visual qual ities -I he ornament of one
(Figure I) inscribed with the name of a well-known member of the Zhou elite
the day Bo Ju it 1)1 i is thoroughly up-to-date in the context of late eleventh to tenth
centuries BCE bronze design-decorated with striking t[otic or monster bees
sporting projecting hufFalo-like horns 1 It even has a lid decorated with similar
buffalo-horned lTeatures -I he other vessel known as the Mai Ii by ~-OlHrast
displays (faces of an earlier style of bronze decor evident in the narrow band of
miniature quills in rhe t[otic design below the lip (figure 2a) -Ihese quills oftell
appeared on bronzes of rhe early Shang dynasty (ca 1 500-ea 10)0 BCE) which
flourished centuries before the Ii vessel W~b G1SL rhus the quills in the border Oil
the Mai Ii (Figure 2b) refer back to bronzes made several hundred years earlier 2
Such revivals fIrst appeared in the late Shang period bur were especially popular
in the early Zhou On rhe basis of the inwardly curved neck below the vessel rim
the Mai Ii is datable to the early Zholl rather (han the late Shang While the two Ii
may not have been made at exactly rhe same rime they were probably made within
fifty years of each other
-These Ii demonstrare the power of ornament to transform to change simple trishy
lobed comainers into distinctive ritual vessels with very different aesthetic effects
The bold projecting bulllio horns on the Bo Ju Ii express confident awareness of
contemporary bronzes and reffect (he patrons employment of craftsmen who had
r R Ie [ Ie T [ C THE r AS T
Ii~llie I 1 III 1 IlL 11middot1
em l[LI11 WLl I1lTiOd
IIhmiddotIOh eel1([(( Ilel
(lJJ(lt iroll] IOlllh
12-) I JL [ iulil I ltlllglull
I1L1I I-kijillg -rOlll lll II
lhuhJllll (d f01gflII0
JI (1g(1l( 1111 1 lkl~ [ion o(hillll I-holll-]
(l-kiiing lIllllhuhl1hc
ll)-hl l() 2()
l11astered what were ar rhe ril11e rhe l110sr advanced principles of design the mher
ve~sel acknowledges the cominuing f)Over and value of archaic decorarion frol11 an
era wirh which rhe parron mav have wished [() be associared
During rhe Shang and Zhou periods (ca 1 O)O-2)C) BeE) broll1e vessels were
used by kings and powerfLd dans in sers of wine and food conrainers to make rirual
offerings [() unseen ancestors who were nourished lw this sustenance Honored
and commemorared rhrough rhe use of rhese precious vessels ancestral spirirs
were rhoughr [() confer bleings on rheir descendatHs ar rhe sal11e ril11e the use
of rhe vessels displayed [0 rhe living rhe power and wealrh of rheir owners I jhe
bronzes were dramaric presences on alrars and were major componenrs of rirual
performances j he number of vessels owned h a noble of rhe larer Shang or Zhou
period numbered abour 20 to 40 pieces as we shall see below Rarel would all
of these have been of exacry rhe same dare or dad wirh dosely relared decorarion
4H
Figur
186
perio
BCE
M25
near
shi w
Liulil
mudi
Wen
color
~url I 1IIl1 Ii II 10
L Xltnn IIHlU period
thmiddot](lth clI1T 1(1
(ltcd from J()mh
2~ I at Liulil 1ltII112h1I1
Ir Helling Jrolll X1IlWil
hamhl cd
qillgtfJigqi Yllilll If -lk~
n Ilf(hincl Br01Ul
_ijill lllll LiHthtllhl 7() no 2(1
sign the other
ration from an
ze vessels were
to make ritual
lI1Ct Honored
tlcestral spirits
time the use
owners I he
nent of ri tual
hang or Zhou
lrely would all
ed decoration
REVIVIN( ANCIENT ORIET AD THE PRESENCE OF THE PAST
rigUT 21 -bi Ii 1H() un Xcrn Zilol
fgtltriod II [hIO[h (ctun
flUc hGtva[ld hOIll I JIltgt
1211 at liliile itnlhlIl
ncar BLijing Irom Bdjil1g
shi VlIlWtl yil1jiil-Utl
Liuile Xj fJ1t II5I(
JJlI(j fY-3-Y- l-kijillg
XlTilIlhHh~1t1 hl 1 q)=)
wlo[ 11 2~
But regardless of date or decor the differences and similarities between them
were significant
lhe decorative differences must have been recognized bur did members
of Shang and Zhou elite bmilies recognize that pieces carried associations with
the past Are rderences to the past within the decor of bronzes a special t(Jrll1 of
ritual or ideological communication [ hese arc some of the many questions that
this conjunction or juxtapositioll o~ two bronzes poses I shall respond to these
questions through an exalllinarion of the luture of bronze onument that allowed
viewers of the pas and allows us toda) to sense the correlation between ornament
and its use at particular times and places Bronze ornament was the product of a
readily inrelligible system which depended on replication of design demen ts
from one generation to the next JOt onlv were motifs repeated on different vessels
of the same period bur as here designs from an earlier period could be recreated on
RE[-JVE-IT-JG THE PAST
Fipll 2h Rubhi1S of the dC(Oralioll on the lai Ii
later pieces Replication of past designs was a f()[ll ofcultural reproducrion through
which the patrons and owners of vessels allowed ideas about themselves and their
relations to past traditions to rake a visual form In one sense such reproduction
depended Oil conrinuiry but by owning and llsing vessels thar called to mind more
remote eras tbe patrons also reacbed back beyond the immediate past in order to
associate themselves with earlier generations and their deeds
Ihe two Western Zhou Ii vessels further draw attenrion to the privileged role of
rima vessels in tbe phenomenon of archaism in Chinese visual culture known as
illlgru flj i II or imitating the past Ihe vessels show that self-conscious eft()rrs to
recreau ancienr f(ml1S and decor began in China at a very early date We know well
the revivals in paiming calligraphy and other tmdia from the Song (960-1279)
to the Qi ng (1644-]91 ]) periods and I have elsewhere discllssed archaism in
bronzes of the 9th-7th centuries Be E as well as other forms of revival ()ne of the
purposes of this paper is to add another chronological layer to our understanding of
an early srage in the history ofjfmgfJJI It is a stage that is rarely irever considered
perhaps because obsession with individual motifs most especially rhe t(wtif has
polarized schobrly views and dcHecred attention aW1Y iiom lrchaism evidenr in a
close study of variation ill bronze decor
Sets Ornament and the Ornament System In any culture revivals of forms and decoration of past arreElCts and buildings
depend upon the ability of viewers to recognize these references Recognition must
distinguish past from presenr and revival from contemporary flshion Perception of
difFerence is essenrial If people of later generations cannot ideJ1[it allllsions to the
past through linguistic or visual rderences they cannot manipulate such references
[0 achieve social or ideological goals
One means of distinguishing contemporary design from revivals depends Oil
our ability to recognize combinations of f()ffTI and decoration specific to certain
)()
~--zmiddotmiddotmiddot(
J - ~ --I ~
lucrion through
nselves and their
ch reproduccion
~d [0 mind more
past in order ro
privileged role of
Jlture known as
lscious df()f(s to
e We know well
ong (O-1279)
sed archaism in
iva One of the
Jllderstanding of
ever considered
Iy tbe ramie has
lism evident in a
n
rs and buildings
ecognirion mllst
)n Perception of
y allusions to the
e such references
vals depends on
)ecihc [0 certain
REV I V I -r C Ai C I Ic-r TOR -r 1 E -r T -r l) T H F PRE S Ie C F 0 I T H l I AS T
particular periods is a skill widely distributed and widely exploited in many
cultures To understand more full what was achieved lw the Shang and Zbou
revivals I shall consider the systems of design that were employed to embellish
ritual bronzes f()r tbe motifs and their organization t()llowed patterns that allowed
and still allow viewers to calibrate them againsr rimc and place
An ornament system is tltlllllded upon rhe lise of cOllSticuent visual elements
or parrs thar an combined 1Ccording (0 certain rules OWl time rhe numbers of
the pans and modes in which thcy arc execlHed nLry change and the ruks
may be modified Nonerheless it remains possible ro trace borh rhe constituent
elements and the underlying rules of ornament systems ovn long pniods of time
Within highly ordered sysnll1s and their evolutionary trends over rime changes of
direction so ro ~leak with earlier designs inserted ar a later poinL show up rarher
dearly Among the most Ellniliar of sllch s~tems is that of Western architec(Ure
with revivals occlIrri ng ar sevlral stages over cwo m i Ilenn ia
111e decoration ofrhe Chinese hronzes tlt)JIllS another elegant ornamellt system-
To analyze sllch systems w need to recofnize that this ornamenr was inseparable
from the three-dimensional objects 011 which it appeared and cannot lx considered
in terms of individuall110tifs on Hat slIrtrces Boob that simpl reproduce bronze
decor in the tltlrI11 of rubbings and drawings suggesting visually [hat ornament
was organized on a Har surbce distorr its essential cluracceL lhe bllHr1o EilTS
on (he BOlll Ii gain dramatic emphasis as they both t()llow and stand awry from
[he rounded lobes and rise lip from [he Hat lid (Figure J) Jhe narrow hordLT of
EKe and quills on the Mai Ii (Figure 2) is matched with rhe slllooth rounded hody
of the second piece FurrhLT both vessels belonged to rhe same individual and
were prohrbly to be lIsld (Ofether and viewed simultaneously In conscquence the
ornament of a particular piece must be understood as one unit within a larger
set One of rhe principal rules or constraints on rhL ortlllllenr svstem was the
dependence of the rimrl on designated categories of vessels Ornamenr had to fit
these given vessel types and the several VCSSl I types were inevitably seen rogcther
when used sinlltlt1l1eouslv
These bronzes were casr III ceramic piecc molds whose divisions frequently
provided venlcal framing devices tltJr some motifs or Llivided orhers symmetrically
Horizolltal divisions ltlned as another flan ot- the organization of the vessel SUrE1Cc 1o
~rhus on the Bo Ju Ii vertical divisions between the molds gave rise to linls cutting
the btlfEllo heads symnwtricallv down lobes whi Ie horizonral bands were created
to display dragons around [he Illck 111ese divisions organizing the motifs llong
with the given vessel shapes and combinations of shapes in sets f(mllcd the ruks
11
---~--~-------~----------~--- _-shy
REl~F-TI~C THE PAST
(hat underpinned the ornament system The motifs that at different chronological
points were organized by these rules fl)[I11ed the parts Other parrs included
Ranges and three-dimensional heads 011 lids shoulders and handles On the two Ii
vessels we see ver~ different component parts applied although the rules flJr the
use of the vessel shape and for the vertical and horizontal divisions are the same
for both Tvo cultural practices ensured continued llse and development of the
ornament system the ritual offerings to the ancestors and the craft traditiolJS of the
ceramic mold-making technolog which underpinned the production of bronze
vessels in China
In the Shang and Zhou periods the ltletllalmotifs or parts to which these rules
were applied underwent two or three major changes as we shall note helow To
understand the sources of rhe decoration of a band with quills on the Ii in figure
2 we have to go back to the bronzes of the early Shang c11 lOO-1500 BCE I he
decor of ShlI1g brol1es can be divided imo two main chronological stages Ihe
first stage is typical of the pre- and earlv-Anyang periods LIming which the parts
consisted of SGolls and quill parrerns orglI1ized around eves to suggest the bces of
creatures (sometimes called Loehr Styles 1- I11) [ he second stage is that of the
main Anyang period (ca 1500-10)0 BCF) whel1 more legible t(wtie moritS with
clelrly defined eyes cars horns and bodies often combined with dragon or birdshy
like creatures (known as Loehr Styles [V-V) were current Ihe major diHerence
between the two stages lies in the treatment of the background of ltll1gular spirals
known as eizuili against which zool1lorphic creatllres cOllld be perceived
Decor coml11only lIsed flH vessels of rhe carly estern Zholl was similar to
that of the second phase of ShlI1g bronze prodllcriol1 he Bo III Ii belongs to
this second phase Viewed by sOl11eone aware of this contrlst hetween the earlier
lnd the later srages the other Western Zholl Ii vessel decorated with a plain band
arollnd the neck would have looked old-tlshiol1eLl and would have been perceived
as a revival or evocation of the earlier l110de of decoration nor as a deployment of
current Elshion However while we consider such revivals as examples of an inrerest
in the past to the pcopk of the Zholl period they may have signalled a rd(rence
rather to an earlier generation In other words the differences in decorative mode
might have been viewed in terms of Ell11ih historv rather than in terms of a known
lnd recorded rime
Rdevltlnr to other types of revival whicb will be discussed only brieRy arc the
later changes in bronze design and function that occurred in the middk to late
Western Zh()U 1 his radical trallsformation of decor took the f(HI11 of repetitive
and geometric rendering of zoomorpbic motifs hom the sixth cenrurv BeE
analogical
included
the (WO Ii
lIes for the
the same
em of the
ions of the
of bronze
these rules
below J()
j in Figure
BeE Illl
[ages I hl
h the pans
he bees of
that of the
lOtifs with
on or birdshy
difFerlnce
lIar spirals
Tceivnl
similar [()
belongs to
the larlilr
plain band
1 percliYed
loymllH of
an inrlrlst
a rderence
Hive mode
)fl known
fly are the
die to late
f repetitive
rury BeE
REVIVIlG A~CIE~T OR~lEgtT A[) THE IRESFCE Of THE PAST
onwards interlace and inla) provided the characteristics of rhe last phase of Zhou
bronze decor Bur despite these quire major changes in parts of the ornamenraJ
system vessels continued [0 be cast in piece molds and used in sets lhus the
ways in which the ornament was organized and deployed across seveul vessels Llsld
togedler followed rhe underlying rules typical of much earlier periods
I have chosen to emphasize the undlrl)ing ortlament sslcm in ordlr to makl
clear the framework of design within which revivals could be difFlrcnriated from
vessels in a more conremporarv mode tor only if that difFerentiation was possible
could allusions and associations be linked with the difFenm pilcls We see here a
powerful example of Ddellzes emphasis on difference and ITpetition1 i It is indeld
possible to argue that variations in ornamlnt within a given )stem bcilitatld a
series of signals in slmiotic terms Ornal1llllt wa a very powerfttl instrtll11lllt
by which information could be exchanged bltwlcn n1ll11bns of elite bmilies In
previolls writings two rarhlr ditterent approaches have been taken on the one
hand ornaJ11lnt has been regarded as a mann of lt1esti1ltic etteu on till othn it has
been treated having some sort of iconic or iconographic meaning
Wherl ornament has IWln valued f(lr its aesthetic qualitils the word stvle
is frllJulnrly lkplmlJ 1 1 h~lT so br avoided this tlrln bur it can lX lIsed to
distinguish several c1oscl rcluld versions of an ornamental tradition over a limited
period of titnt Ihm the Bo Ju Ii (Figurl 1) can be described as carrying ornament
in an llriy Zhou styk by which I I11lan that it is a Zhou-pniod varial][ of the
ue Shang phsl of the ornaI11lnt sstem Jhl Mai Ii (Figure ) can bl lkscribed
as a Zhou-stylc rnival of rhe early Shang stagls of the systcm But a discussion
of ornament as stvle llonl docs not enable LIS to rlad the pmsible associations
thaI thlsl bronzes cOIleVld when emplmed in tillir original COl1tlxts for has an
iconographic approach proved sLlccessftd ill lllvcloping such a projlct Attllllpts
to identif) particular Illotif~ as carrying splcihc relerellcls to crearures or deitils
described olltside the realm of bronzl design haT nor provld fiuitful and not
only blGlllSe there arl no satisElctory altlrnative SOllfClS from which to dcriw
evidence of such deities I he principal probkm is tll~lf an iconographic approach
overlooks thl value of thl ari~l[iollS of a single motif as pan of a system of design
to carry associations I 1hus some motifs ll1av have had a meaning in till sensl of
referring to particular UTltltllrlS living and imaginary But to tah this point of
view does nothing to explain thl very largl IlllJllblr of variations of dragollS or
frontal EKes known as tlotil To advance this aspect of the discussion I will now
consider some of the ways in which ritual bronzes might have convlyld meanings
or rather associuions
r RFIFT1C THE PAST
Materiality and Meaning Ir is evident from the primary function of the bronze vessels that they were important
sites of commLllliClrion Xlhen used ro offer wine and food to rhe ancestors the
bronzes mediated between the living and the unseen spirits In terms of Alfred
Cdls work the vessels were agcnts acting upon tO separatcd consdruencics and
thndw putting them in cOl11mullication with one another lhe poems of rhe Sb
i (Book SOllgl) providc thc most accessihle evidence that the scem of
food and wine held in thc n~ssels a onc Illcans to arrract ancestral spirits that is
m communicate with thelllCi Another f(lllll ofconract was established through the
words cast in the brollzcs Long inscriptions primarilY in or on early Zhou bronzes
wcn addresscd ro the anccstors and to furun descendcnts BricL earlier inscriptions
that recorded clan and regional affiliations also lXpressed the position of rhe sers of
vcssels wirhin a network of ancestors lI1d dcsccndalHs
Jhc bronzes buricd irh fu Han ( rhe consort of rhe Shang King Vu Dillg
(ca 120() BeE) pnlide a good cxample of a Sl( of es~e1s en 11llshed hy their
inscriprions in a complL socilry I he imcriprions include hI Haos name in life
alld her ritual naille after dearh nalllcs of orher Illcmhers of her lineagc nalllcs
of officials associarLli wirh the Slung culr ritual and names of oflici1ls associnLli
with regiolls olltsiJe Allang Such records signalled Fu Haos positioll lI1d
lhar of lin widn tlmik in both soci~tl and ritual rcbtiomhips Alongside or ill
place of rhL i nscri priol1s signa II ing thcsc rei ationsh ips thc vessels thu11Sclves~rhei r
shllXs their sizes and rhcir decoration-arc likely to have been intcgral parrs of
the l11essagc also
Visual displays of the vessels reStlllg UpOI1 an alrar and in movement during
highk choreographed sequences of 1eriollS In rituals would have attracted
attention and cOI1evlll tU Haos staws to the [hing and the dead It is rathn
han1I however imply [(l view all eXlcptionlll hnclv made and~lers as redolcm
of stalllS 1I1d power A l1lorc nuanccd approach is llcclkd to reflect the numcrous
ingenious I11ClllS Iw which people construct thcir ellironll1enrs ro rcalize in highlv
specihc was their idemiries and roles rliari [0 ochers in their societies A growing
theoretical approach thL stud of materiality has sought to give emphasis to rhe
material disrinLthcness of differenr cultures and their specihc practices In rhis
disc()m~e the phsic~ll esistenu of a ork of lrr or 111 arrd1Ct is recognized 1S
an activc componenr in thc cOllstruction and rransmission of rhe culwral lire of
a group of people who emplO rhese artefaCts in their social and religious lives
Such arguments h~1e been put forward by Daniel Miller L)nn Meskell and Tim
Ihm I who used the term 11lltcrialit to embrace the physical and cognlflvc
[
B
re
he
pI
fo
wi
wi
oil
be
th
bo
the
inl
1h
we
ide
bn
Cal
in
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
Iy identify the tomh
tg hoth the deceased
case is mOfl
CStors movcd ro the
remote Chinese
cates a non-( hincsr
BlIt to all
d Hc llloved to the
on
7he ChilieSpound iitemt
1ass Hlrvard
ifldiliOli ) 1
liming in li-kalll
IsDn-Atkins Museum
ce lmcs (lhill fhi
(Cambridge Mass
weulll of hne Ans
Historv and An in
on from ihid p 1)
Ifl li stutiv or the
2(07) Pi 51 H 1 t)
tied IIIXiIIl~
ished hy the (h i Illl
mig 5icmg jli1iggll()
ng Sieheng historical
I CClHtl hbClll1l ill
--Iaven )tle Lnivcrsity
1 ARCHAISM ANTIQUARIANISM AND CHINESE
ART HISTORY
Reviving Ancient Ornament and the Presence of the
Past Examples from Shang and Zhou Bronze Vessels
Jessica Rawson
Introduction
T wo Ii vessels from the same Western Zhou (ca 1050-771 BCE) tomb
near Beijing display radically dilferen t visual qual ities -I he ornament of one
(Figure I) inscribed with the name of a well-known member of the Zhou elite
the day Bo Ju it 1)1 i is thoroughly up-to-date in the context of late eleventh to tenth
centuries BCE bronze design-decorated with striking t[otic or monster bees
sporting projecting hufFalo-like horns 1 It even has a lid decorated with similar
buffalo-horned lTeatures -I he other vessel known as the Mai Ii by ~-OlHrast
displays (faces of an earlier style of bronze decor evident in the narrow band of
miniature quills in rhe t[otic design below the lip (figure 2a) -Ihese quills oftell
appeared on bronzes of rhe early Shang dynasty (ca 1 500-ea 10)0 BCE) which
flourished centuries before the Ii vessel W~b G1SL rhus the quills in the border Oil
the Mai Ii (Figure 2b) refer back to bronzes made several hundred years earlier 2
Such revivals fIrst appeared in the late Shang period bur were especially popular
in the early Zhou On rhe basis of the inwardly curved neck below the vessel rim
the Mai Ii is datable to the early Zholl rather (han the late Shang While the two Ii
may not have been made at exactly rhe same rime they were probably made within
fifty years of each other
-These Ii demonstrare the power of ornament to transform to change simple trishy
lobed comainers into distinctive ritual vessels with very different aesthetic effects
The bold projecting bulllio horns on the Bo Ju Ii express confident awareness of
contemporary bronzes and reffect (he patrons employment of craftsmen who had
r R Ie [ Ie T [ C THE r AS T
Ii~llie I 1 III 1 IlL 11middot1
em l[LI11 WLl I1lTiOd
IIhmiddotIOh eel1([(( Ilel
(lJJ(lt iroll] IOlllh
12-) I JL [ iulil I ltlllglull
I1L1I I-kijillg -rOlll lll II
lhuhJllll (d f01gflII0
JI (1g(1l( 1111 1 lkl~ [ion o(hillll I-holll-]
(l-kiiing lIllllhuhl1hc
ll)-hl l() 2()
l11astered what were ar rhe ril11e rhe l110sr advanced principles of design the mher
ve~sel acknowledges the cominuing f)Over and value of archaic decorarion frol11 an
era wirh which rhe parron mav have wished [() be associared
During rhe Shang and Zhou periods (ca 1 O)O-2)C) BeE) broll1e vessels were
used by kings and powerfLd dans in sers of wine and food conrainers to make rirual
offerings [() unseen ancestors who were nourished lw this sustenance Honored
and commemorared rhrough rhe use of rhese precious vessels ancestral spirirs
were rhoughr [() confer bleings on rheir descendatHs ar rhe sal11e ril11e the use
of rhe vessels displayed [0 rhe living rhe power and wealrh of rheir owners I jhe
bronzes were dramaric presences on alrars and were major componenrs of rirual
performances j he number of vessels owned h a noble of rhe larer Shang or Zhou
period numbered abour 20 to 40 pieces as we shall see below Rarel would all
of these have been of exacry rhe same dare or dad wirh dosely relared decorarion
4H
Figur
186
perio
BCE
M25
near
shi w
Liulil
mudi
Wen
color
~url I 1IIl1 Ii II 10
L Xltnn IIHlU period
thmiddot](lth clI1T 1(1
(ltcd from J()mh
2~ I at Liulil 1ltII112h1I1
Ir Helling Jrolll X1IlWil
hamhl cd
qillgtfJigqi Yllilll If -lk~
n Ilf(hincl Br01Ul
_ijill lllll LiHthtllhl 7() no 2(1
sign the other
ration from an
ze vessels were
to make ritual
lI1Ct Honored
tlcestral spirits
time the use
owners I he
nent of ri tual
hang or Zhou
lrely would all
ed decoration
REVIVIN( ANCIENT ORIET AD THE PRESENCE OF THE PAST
rigUT 21 -bi Ii 1H() un Xcrn Zilol
fgtltriod II [hIO[h (ctun
flUc hGtva[ld hOIll I JIltgt
1211 at liliile itnlhlIl
ncar BLijing Irom Bdjil1g
shi VlIlWtl yil1jiil-Utl
Liuile Xj fJ1t II5I(
JJlI(j fY-3-Y- l-kijillg
XlTilIlhHh~1t1 hl 1 q)=)
wlo[ 11 2~
But regardless of date or decor the differences and similarities between them
were significant
lhe decorative differences must have been recognized bur did members
of Shang and Zhou elite bmilies recognize that pieces carried associations with
the past Are rderences to the past within the decor of bronzes a special t(Jrll1 of
ritual or ideological communication [ hese arc some of the many questions that
this conjunction or juxtapositioll o~ two bronzes poses I shall respond to these
questions through an exalllinarion of the luture of bronze onument that allowed
viewers of the pas and allows us toda) to sense the correlation between ornament
and its use at particular times and places Bronze ornament was the product of a
readily inrelligible system which depended on replication of design demen ts
from one generation to the next JOt onlv were motifs repeated on different vessels
of the same period bur as here designs from an earlier period could be recreated on
RE[-JVE-IT-JG THE PAST
Fipll 2h Rubhi1S of the dC(Oralioll on the lai Ii
later pieces Replication of past designs was a f()[ll ofcultural reproducrion through
which the patrons and owners of vessels allowed ideas about themselves and their
relations to past traditions to rake a visual form In one sense such reproduction
depended Oil conrinuiry but by owning and llsing vessels thar called to mind more
remote eras tbe patrons also reacbed back beyond the immediate past in order to
associate themselves with earlier generations and their deeds
Ihe two Western Zhou Ii vessels further draw attenrion to the privileged role of
rima vessels in tbe phenomenon of archaism in Chinese visual culture known as
illlgru flj i II or imitating the past Ihe vessels show that self-conscious eft()rrs to
recreau ancienr f(ml1S and decor began in China at a very early date We know well
the revivals in paiming calligraphy and other tmdia from the Song (960-1279)
to the Qi ng (1644-]91 ]) periods and I have elsewhere discllssed archaism in
bronzes of the 9th-7th centuries Be E as well as other forms of revival ()ne of the
purposes of this paper is to add another chronological layer to our understanding of
an early srage in the history ofjfmgfJJI It is a stage that is rarely irever considered
perhaps because obsession with individual motifs most especially rhe t(wtif has
polarized schobrly views and dcHecred attention aW1Y iiom lrchaism evidenr in a
close study of variation ill bronze decor
Sets Ornament and the Ornament System In any culture revivals of forms and decoration of past arreElCts and buildings
depend upon the ability of viewers to recognize these references Recognition must
distinguish past from presenr and revival from contemporary flshion Perception of
difFerence is essenrial If people of later generations cannot ideJ1[it allllsions to the
past through linguistic or visual rderences they cannot manipulate such references
[0 achieve social or ideological goals
One means of distinguishing contemporary design from revivals depends Oil
our ability to recognize combinations of f()ffTI and decoration specific to certain
)()
~--zmiddotmiddotmiddot(
J - ~ --I ~
lucrion through
nselves and their
ch reproduccion
~d [0 mind more
past in order ro
privileged role of
Jlture known as
lscious df()f(s to
e We know well
ong (O-1279)
sed archaism in
iva One of the
Jllderstanding of
ever considered
Iy tbe ramie has
lism evident in a
n
rs and buildings
ecognirion mllst
)n Perception of
y allusions to the
e such references
vals depends on
)ecihc [0 certain
REV I V I -r C Ai C I Ic-r TOR -r 1 E -r T -r l) T H F PRE S Ie C F 0 I T H l I AS T
particular periods is a skill widely distributed and widely exploited in many
cultures To understand more full what was achieved lw the Shang and Zbou
revivals I shall consider the systems of design that were employed to embellish
ritual bronzes f()r tbe motifs and their organization t()llowed patterns that allowed
and still allow viewers to calibrate them againsr rimc and place
An ornament system is tltlllllded upon rhe lise of cOllSticuent visual elements
or parrs thar an combined 1Ccording (0 certain rules OWl time rhe numbers of
the pans and modes in which thcy arc execlHed nLry change and the ruks
may be modified Nonerheless it remains possible ro trace borh rhe constituent
elements and the underlying rules of ornament systems ovn long pniods of time
Within highly ordered sysnll1s and their evolutionary trends over rime changes of
direction so ro ~leak with earlier designs inserted ar a later poinL show up rarher
dearly Among the most Ellniliar of sllch s~tems is that of Western architec(Ure
with revivals occlIrri ng ar sevlral stages over cwo m i Ilenn ia
111e decoration ofrhe Chinese hronzes tlt)JIllS another elegant ornamellt system-
To analyze sllch systems w need to recofnize that this ornamenr was inseparable
from the three-dimensional objects 011 which it appeared and cannot lx considered
in terms of individuall110tifs on Hat slIrtrces Boob that simpl reproduce bronze
decor in the tltlrI11 of rubbings and drawings suggesting visually [hat ornament
was organized on a Har surbce distorr its essential cluracceL lhe bllHr1o EilTS
on (he BOlll Ii gain dramatic emphasis as they both t()llow and stand awry from
[he rounded lobes and rise lip from [he Hat lid (Figure J) Jhe narrow hordLT of
EKe and quills on the Mai Ii (Figure 2) is matched with rhe slllooth rounded hody
of the second piece FurrhLT both vessels belonged to rhe same individual and
were prohrbly to be lIsld (Ofether and viewed simultaneously In conscquence the
ornament of a particular piece must be understood as one unit within a larger
set One of rhe principal rules or constraints on rhL ortlllllenr svstem was the
dependence of the rimrl on designated categories of vessels Ornamenr had to fit
these given vessel types and the several VCSSl I types were inevitably seen rogcther
when used sinlltlt1l1eouslv
These bronzes were casr III ceramic piecc molds whose divisions frequently
provided venlcal framing devices tltJr some motifs or Llivided orhers symmetrically
Horizolltal divisions ltlned as another flan ot- the organization of the vessel SUrE1Cc 1o
~rhus on the Bo Ju Ii vertical divisions between the molds gave rise to linls cutting
the btlfEllo heads symnwtricallv down lobes whi Ie horizonral bands were created
to display dragons around [he Illck 111ese divisions organizing the motifs llong
with the given vessel shapes and combinations of shapes in sets f(mllcd the ruks
11
---~--~-------~----------~--- _-shy
REl~F-TI~C THE PAST
(hat underpinned the ornament system The motifs that at different chronological
points were organized by these rules fl)[I11ed the parts Other parrs included
Ranges and three-dimensional heads 011 lids shoulders and handles On the two Ii
vessels we see ver~ different component parts applied although the rules flJr the
use of the vessel shape and for the vertical and horizontal divisions are the same
for both Tvo cultural practices ensured continued llse and development of the
ornament system the ritual offerings to the ancestors and the craft traditiolJS of the
ceramic mold-making technolog which underpinned the production of bronze
vessels in China
In the Shang and Zhou periods the ltletllalmotifs or parts to which these rules
were applied underwent two or three major changes as we shall note helow To
understand the sources of rhe decoration of a band with quills on the Ii in figure
2 we have to go back to the bronzes of the early Shang c11 lOO-1500 BCE I he
decor of ShlI1g brol1es can be divided imo two main chronological stages Ihe
first stage is typical of the pre- and earlv-Anyang periods LIming which the parts
consisted of SGolls and quill parrerns orglI1ized around eves to suggest the bces of
creatures (sometimes called Loehr Styles 1- I11) [ he second stage is that of the
main Anyang period (ca 1500-10)0 BCF) whel1 more legible t(wtie moritS with
clelrly defined eyes cars horns and bodies often combined with dragon or birdshy
like creatures (known as Loehr Styles [V-V) were current Ihe major diHerence
between the two stages lies in the treatment of the background of ltll1gular spirals
known as eizuili against which zool1lorphic creatllres cOllld be perceived
Decor coml11only lIsed flH vessels of rhe carly estern Zholl was similar to
that of the second phase of ShlI1g bronze prodllcriol1 he Bo III Ii belongs to
this second phase Viewed by sOl11eone aware of this contrlst hetween the earlier
lnd the later srages the other Western Zholl Ii vessel decorated with a plain band
arollnd the neck would have looked old-tlshiol1eLl and would have been perceived
as a revival or evocation of the earlier l110de of decoration nor as a deployment of
current Elshion However while we consider such revivals as examples of an inrerest
in the past to the pcopk of the Zholl period they may have signalled a rd(rence
rather to an earlier generation In other words the differences in decorative mode
might have been viewed in terms of Ell11ih historv rather than in terms of a known
lnd recorded rime
Rdevltlnr to other types of revival whicb will be discussed only brieRy arc the
later changes in bronze design and function that occurred in the middk to late
Western Zh()U 1 his radical trallsformation of decor took the f(HI11 of repetitive
and geometric rendering of zoomorpbic motifs hom the sixth cenrurv BeE
analogical
included
the (WO Ii
lIes for the
the same
em of the
ions of the
of bronze
these rules
below J()
j in Figure
BeE Illl
[ages I hl
h the pans
he bees of
that of the
lOtifs with
on or birdshy
difFerlnce
lIar spirals
Tceivnl
similar [()
belongs to
the larlilr
plain band
1 percliYed
loymllH of
an inrlrlst
a rderence
Hive mode
)fl known
fly are the
die to late
f repetitive
rury BeE
REVIVIlG A~CIE~T OR~lEgtT A[) THE IRESFCE Of THE PAST
onwards interlace and inla) provided the characteristics of rhe last phase of Zhou
bronze decor Bur despite these quire major changes in parts of the ornamenraJ
system vessels continued [0 be cast in piece molds and used in sets lhus the
ways in which the ornament was organized and deployed across seveul vessels Llsld
togedler followed rhe underlying rules typical of much earlier periods
I have chosen to emphasize the undlrl)ing ortlament sslcm in ordlr to makl
clear the framework of design within which revivals could be difFlrcnriated from
vessels in a more conremporarv mode tor only if that difFerentiation was possible
could allusions and associations be linked with the difFenm pilcls We see here a
powerful example of Ddellzes emphasis on difference and ITpetition1 i It is indeld
possible to argue that variations in ornamlnt within a given )stem bcilitatld a
series of signals in slmiotic terms Ornal1llllt wa a very powerfttl instrtll11lllt
by which information could be exchanged bltwlcn n1ll11bns of elite bmilies In
previolls writings two rarhlr ditterent approaches have been taken on the one
hand ornaJ11lnt has been regarded as a mann of lt1esti1ltic etteu on till othn it has
been treated having some sort of iconic or iconographic meaning
Wherl ornament has IWln valued f(lr its aesthetic qualitils the word stvle
is frllJulnrly lkplmlJ 1 1 h~lT so br avoided this tlrln bur it can lX lIsed to
distinguish several c1oscl rcluld versions of an ornamental tradition over a limited
period of titnt Ihm the Bo Ju Ii (Figurl 1) can be described as carrying ornament
in an llriy Zhou styk by which I I11lan that it is a Zhou-pniod varial][ of the
ue Shang phsl of the ornaI11lnt sstem Jhl Mai Ii (Figure ) can bl lkscribed
as a Zhou-stylc rnival of rhe early Shang stagls of the systcm But a discussion
of ornament as stvle llonl docs not enable LIS to rlad the pmsible associations
thaI thlsl bronzes cOIleVld when emplmed in tillir original COl1tlxts for has an
iconographic approach proved sLlccessftd ill lllvcloping such a projlct Attllllpts
to identif) particular Illotif~ as carrying splcihc relerellcls to crearures or deitils
described olltside the realm of bronzl design haT nor provld fiuitful and not
only blGlllSe there arl no satisElctory altlrnative SOllfClS from which to dcriw
evidence of such deities I he principal probkm is tll~lf an iconographic approach
overlooks thl value of thl ari~l[iollS of a single motif as pan of a system of design
to carry associations I 1hus some motifs ll1av have had a meaning in till sensl of
referring to particular UTltltllrlS living and imaginary But to tah this point of
view does nothing to explain thl very largl IlllJllblr of variations of dragollS or
frontal EKes known as tlotil To advance this aspect of the discussion I will now
consider some of the ways in which ritual bronzes might have convlyld meanings
or rather associuions
r RFIFT1C THE PAST
Materiality and Meaning Ir is evident from the primary function of the bronze vessels that they were important
sites of commLllliClrion Xlhen used ro offer wine and food to rhe ancestors the
bronzes mediated between the living and the unseen spirits In terms of Alfred
Cdls work the vessels were agcnts acting upon tO separatcd consdruencics and
thndw putting them in cOl11mullication with one another lhe poems of rhe Sb
i (Book SOllgl) providc thc most accessihle evidence that the scem of
food and wine held in thc n~ssels a onc Illcans to arrract ancestral spirits that is
m communicate with thelllCi Another f(lllll ofconract was established through the
words cast in the brollzcs Long inscriptions primarilY in or on early Zhou bronzes
wcn addresscd ro the anccstors and to furun descendcnts BricL earlier inscriptions
that recorded clan and regional affiliations also lXpressed the position of rhe sers of
vcssels wirhin a network of ancestors lI1d dcsccndalHs
Jhc bronzes buricd irh fu Han ( rhe consort of rhe Shang King Vu Dillg
(ca 120() BeE) pnlide a good cxample of a Sl( of es~e1s en 11llshed hy their
inscriprions in a complL socilry I he imcriprions include hI Haos name in life
alld her ritual naille after dearh nalllcs of orher Illcmhers of her lineagc nalllcs
of officials associarLli wirh the Slung culr ritual and names of oflici1ls associnLli
with regiolls olltsiJe Allang Such records signalled Fu Haos positioll lI1d
lhar of lin widn tlmik in both soci~tl and ritual rcbtiomhips Alongside or ill
place of rhL i nscri priol1s signa II ing thcsc rei ationsh ips thc vessels thu11Sclves~rhei r
shllXs their sizes and rhcir decoration-arc likely to have been intcgral parrs of
the l11essagc also
Visual displays of the vessels reStlllg UpOI1 an alrar and in movement during
highk choreographed sequences of 1eriollS In rituals would have attracted
attention and cOI1evlll tU Haos staws to the [hing and the dead It is rathn
han1I however imply [(l view all eXlcptionlll hnclv made and~lers as redolcm
of stalllS 1I1d power A l1lorc nuanccd approach is llcclkd to reflect the numcrous
ingenious I11ClllS Iw which people construct thcir ellironll1enrs ro rcalize in highlv
specihc was their idemiries and roles rliari [0 ochers in their societies A growing
theoretical approach thL stud of materiality has sought to give emphasis to rhe
material disrinLthcness of differenr cultures and their specihc practices In rhis
disc()m~e the phsic~ll esistenu of a ork of lrr or 111 arrd1Ct is recognized 1S
an activc componenr in thc cOllstruction and rransmission of rhe culwral lire of
a group of people who emplO rhese artefaCts in their social and religious lives
Such arguments h~1e been put forward by Daniel Miller L)nn Meskell and Tim
Ihm I who used the term 11lltcrialit to embrace the physical and cognlflvc
[
B
re
he
pI
fo
wi
wi
oil
be
th
bo
the
inl
1h
we
ide
bn
Cal
in
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
r R Ie [ Ie T [ C THE r AS T
Ii~llie I 1 III 1 IlL 11middot1
em l[LI11 WLl I1lTiOd
IIhmiddotIOh eel1([(( Ilel
(lJJ(lt iroll] IOlllh
12-) I JL [ iulil I ltlllglull
I1L1I I-kijillg -rOlll lll II
lhuhJllll (d f01gflII0
JI (1g(1l( 1111 1 lkl~ [ion o(hillll I-holll-]
(l-kiiing lIllllhuhl1hc
ll)-hl l() 2()
l11astered what were ar rhe ril11e rhe l110sr advanced principles of design the mher
ve~sel acknowledges the cominuing f)Over and value of archaic decorarion frol11 an
era wirh which rhe parron mav have wished [() be associared
During rhe Shang and Zhou periods (ca 1 O)O-2)C) BeE) broll1e vessels were
used by kings and powerfLd dans in sers of wine and food conrainers to make rirual
offerings [() unseen ancestors who were nourished lw this sustenance Honored
and commemorared rhrough rhe use of rhese precious vessels ancestral spirirs
were rhoughr [() confer bleings on rheir descendatHs ar rhe sal11e ril11e the use
of rhe vessels displayed [0 rhe living rhe power and wealrh of rheir owners I jhe
bronzes were dramaric presences on alrars and were major componenrs of rirual
performances j he number of vessels owned h a noble of rhe larer Shang or Zhou
period numbered abour 20 to 40 pieces as we shall see below Rarel would all
of these have been of exacry rhe same dare or dad wirh dosely relared decorarion
4H
Figur
186
perio
BCE
M25
near
shi w
Liulil
mudi
Wen
color
~url I 1IIl1 Ii II 10
L Xltnn IIHlU period
thmiddot](lth clI1T 1(1
(ltcd from J()mh
2~ I at Liulil 1ltII112h1I1
Ir Helling Jrolll X1IlWil
hamhl cd
qillgtfJigqi Yllilll If -lk~
n Ilf(hincl Br01Ul
_ijill lllll LiHthtllhl 7() no 2(1
sign the other
ration from an
ze vessels were
to make ritual
lI1Ct Honored
tlcestral spirits
time the use
owners I he
nent of ri tual
hang or Zhou
lrely would all
ed decoration
REVIVIN( ANCIENT ORIET AD THE PRESENCE OF THE PAST
rigUT 21 -bi Ii 1H() un Xcrn Zilol
fgtltriod II [hIO[h (ctun
flUc hGtva[ld hOIll I JIltgt
1211 at liliile itnlhlIl
ncar BLijing Irom Bdjil1g
shi VlIlWtl yil1jiil-Utl
Liuile Xj fJ1t II5I(
JJlI(j fY-3-Y- l-kijillg
XlTilIlhHh~1t1 hl 1 q)=)
wlo[ 11 2~
But regardless of date or decor the differences and similarities between them
were significant
lhe decorative differences must have been recognized bur did members
of Shang and Zhou elite bmilies recognize that pieces carried associations with
the past Are rderences to the past within the decor of bronzes a special t(Jrll1 of
ritual or ideological communication [ hese arc some of the many questions that
this conjunction or juxtapositioll o~ two bronzes poses I shall respond to these
questions through an exalllinarion of the luture of bronze onument that allowed
viewers of the pas and allows us toda) to sense the correlation between ornament
and its use at particular times and places Bronze ornament was the product of a
readily inrelligible system which depended on replication of design demen ts
from one generation to the next JOt onlv were motifs repeated on different vessels
of the same period bur as here designs from an earlier period could be recreated on
RE[-JVE-IT-JG THE PAST
Fipll 2h Rubhi1S of the dC(Oralioll on the lai Ii
later pieces Replication of past designs was a f()[ll ofcultural reproducrion through
which the patrons and owners of vessels allowed ideas about themselves and their
relations to past traditions to rake a visual form In one sense such reproduction
depended Oil conrinuiry but by owning and llsing vessels thar called to mind more
remote eras tbe patrons also reacbed back beyond the immediate past in order to
associate themselves with earlier generations and their deeds
Ihe two Western Zhou Ii vessels further draw attenrion to the privileged role of
rima vessels in tbe phenomenon of archaism in Chinese visual culture known as
illlgru flj i II or imitating the past Ihe vessels show that self-conscious eft()rrs to
recreau ancienr f(ml1S and decor began in China at a very early date We know well
the revivals in paiming calligraphy and other tmdia from the Song (960-1279)
to the Qi ng (1644-]91 ]) periods and I have elsewhere discllssed archaism in
bronzes of the 9th-7th centuries Be E as well as other forms of revival ()ne of the
purposes of this paper is to add another chronological layer to our understanding of
an early srage in the history ofjfmgfJJI It is a stage that is rarely irever considered
perhaps because obsession with individual motifs most especially rhe t(wtif has
polarized schobrly views and dcHecred attention aW1Y iiom lrchaism evidenr in a
close study of variation ill bronze decor
Sets Ornament and the Ornament System In any culture revivals of forms and decoration of past arreElCts and buildings
depend upon the ability of viewers to recognize these references Recognition must
distinguish past from presenr and revival from contemporary flshion Perception of
difFerence is essenrial If people of later generations cannot ideJ1[it allllsions to the
past through linguistic or visual rderences they cannot manipulate such references
[0 achieve social or ideological goals
One means of distinguishing contemporary design from revivals depends Oil
our ability to recognize combinations of f()ffTI and decoration specific to certain
)()
~--zmiddotmiddotmiddot(
J - ~ --I ~
lucrion through
nselves and their
ch reproduccion
~d [0 mind more
past in order ro
privileged role of
Jlture known as
lscious df()f(s to
e We know well
ong (O-1279)
sed archaism in
iva One of the
Jllderstanding of
ever considered
Iy tbe ramie has
lism evident in a
n
rs and buildings
ecognirion mllst
)n Perception of
y allusions to the
e such references
vals depends on
)ecihc [0 certain
REV I V I -r C Ai C I Ic-r TOR -r 1 E -r T -r l) T H F PRE S Ie C F 0 I T H l I AS T
particular periods is a skill widely distributed and widely exploited in many
cultures To understand more full what was achieved lw the Shang and Zbou
revivals I shall consider the systems of design that were employed to embellish
ritual bronzes f()r tbe motifs and their organization t()llowed patterns that allowed
and still allow viewers to calibrate them againsr rimc and place
An ornament system is tltlllllded upon rhe lise of cOllSticuent visual elements
or parrs thar an combined 1Ccording (0 certain rules OWl time rhe numbers of
the pans and modes in which thcy arc execlHed nLry change and the ruks
may be modified Nonerheless it remains possible ro trace borh rhe constituent
elements and the underlying rules of ornament systems ovn long pniods of time
Within highly ordered sysnll1s and their evolutionary trends over rime changes of
direction so ro ~leak with earlier designs inserted ar a later poinL show up rarher
dearly Among the most Ellniliar of sllch s~tems is that of Western architec(Ure
with revivals occlIrri ng ar sevlral stages over cwo m i Ilenn ia
111e decoration ofrhe Chinese hronzes tlt)JIllS another elegant ornamellt system-
To analyze sllch systems w need to recofnize that this ornamenr was inseparable
from the three-dimensional objects 011 which it appeared and cannot lx considered
in terms of individuall110tifs on Hat slIrtrces Boob that simpl reproduce bronze
decor in the tltlrI11 of rubbings and drawings suggesting visually [hat ornament
was organized on a Har surbce distorr its essential cluracceL lhe bllHr1o EilTS
on (he BOlll Ii gain dramatic emphasis as they both t()llow and stand awry from
[he rounded lobes and rise lip from [he Hat lid (Figure J) Jhe narrow hordLT of
EKe and quills on the Mai Ii (Figure 2) is matched with rhe slllooth rounded hody
of the second piece FurrhLT both vessels belonged to rhe same individual and
were prohrbly to be lIsld (Ofether and viewed simultaneously In conscquence the
ornament of a particular piece must be understood as one unit within a larger
set One of rhe principal rules or constraints on rhL ortlllllenr svstem was the
dependence of the rimrl on designated categories of vessels Ornamenr had to fit
these given vessel types and the several VCSSl I types were inevitably seen rogcther
when used sinlltlt1l1eouslv
These bronzes were casr III ceramic piecc molds whose divisions frequently
provided venlcal framing devices tltJr some motifs or Llivided orhers symmetrically
Horizolltal divisions ltlned as another flan ot- the organization of the vessel SUrE1Cc 1o
~rhus on the Bo Ju Ii vertical divisions between the molds gave rise to linls cutting
the btlfEllo heads symnwtricallv down lobes whi Ie horizonral bands were created
to display dragons around [he Illck 111ese divisions organizing the motifs llong
with the given vessel shapes and combinations of shapes in sets f(mllcd the ruks
11
---~--~-------~----------~--- _-shy
REl~F-TI~C THE PAST
(hat underpinned the ornament system The motifs that at different chronological
points were organized by these rules fl)[I11ed the parts Other parrs included
Ranges and three-dimensional heads 011 lids shoulders and handles On the two Ii
vessels we see ver~ different component parts applied although the rules flJr the
use of the vessel shape and for the vertical and horizontal divisions are the same
for both Tvo cultural practices ensured continued llse and development of the
ornament system the ritual offerings to the ancestors and the craft traditiolJS of the
ceramic mold-making technolog which underpinned the production of bronze
vessels in China
In the Shang and Zhou periods the ltletllalmotifs or parts to which these rules
were applied underwent two or three major changes as we shall note helow To
understand the sources of rhe decoration of a band with quills on the Ii in figure
2 we have to go back to the bronzes of the early Shang c11 lOO-1500 BCE I he
decor of ShlI1g brol1es can be divided imo two main chronological stages Ihe
first stage is typical of the pre- and earlv-Anyang periods LIming which the parts
consisted of SGolls and quill parrerns orglI1ized around eves to suggest the bces of
creatures (sometimes called Loehr Styles 1- I11) [ he second stage is that of the
main Anyang period (ca 1500-10)0 BCF) whel1 more legible t(wtie moritS with
clelrly defined eyes cars horns and bodies often combined with dragon or birdshy
like creatures (known as Loehr Styles [V-V) were current Ihe major diHerence
between the two stages lies in the treatment of the background of ltll1gular spirals
known as eizuili against which zool1lorphic creatllres cOllld be perceived
Decor coml11only lIsed flH vessels of rhe carly estern Zholl was similar to
that of the second phase of ShlI1g bronze prodllcriol1 he Bo III Ii belongs to
this second phase Viewed by sOl11eone aware of this contrlst hetween the earlier
lnd the later srages the other Western Zholl Ii vessel decorated with a plain band
arollnd the neck would have looked old-tlshiol1eLl and would have been perceived
as a revival or evocation of the earlier l110de of decoration nor as a deployment of
current Elshion However while we consider such revivals as examples of an inrerest
in the past to the pcopk of the Zholl period they may have signalled a rd(rence
rather to an earlier generation In other words the differences in decorative mode
might have been viewed in terms of Ell11ih historv rather than in terms of a known
lnd recorded rime
Rdevltlnr to other types of revival whicb will be discussed only brieRy arc the
later changes in bronze design and function that occurred in the middk to late
Western Zh()U 1 his radical trallsformation of decor took the f(HI11 of repetitive
and geometric rendering of zoomorpbic motifs hom the sixth cenrurv BeE
analogical
included
the (WO Ii
lIes for the
the same
em of the
ions of the
of bronze
these rules
below J()
j in Figure
BeE Illl
[ages I hl
h the pans
he bees of
that of the
lOtifs with
on or birdshy
difFerlnce
lIar spirals
Tceivnl
similar [()
belongs to
the larlilr
plain band
1 percliYed
loymllH of
an inrlrlst
a rderence
Hive mode
)fl known
fly are the
die to late
f repetitive
rury BeE
REVIVIlG A~CIE~T OR~lEgtT A[) THE IRESFCE Of THE PAST
onwards interlace and inla) provided the characteristics of rhe last phase of Zhou
bronze decor Bur despite these quire major changes in parts of the ornamenraJ
system vessels continued [0 be cast in piece molds and used in sets lhus the
ways in which the ornament was organized and deployed across seveul vessels Llsld
togedler followed rhe underlying rules typical of much earlier periods
I have chosen to emphasize the undlrl)ing ortlament sslcm in ordlr to makl
clear the framework of design within which revivals could be difFlrcnriated from
vessels in a more conremporarv mode tor only if that difFerentiation was possible
could allusions and associations be linked with the difFenm pilcls We see here a
powerful example of Ddellzes emphasis on difference and ITpetition1 i It is indeld
possible to argue that variations in ornamlnt within a given )stem bcilitatld a
series of signals in slmiotic terms Ornal1llllt wa a very powerfttl instrtll11lllt
by which information could be exchanged bltwlcn n1ll11bns of elite bmilies In
previolls writings two rarhlr ditterent approaches have been taken on the one
hand ornaJ11lnt has been regarded as a mann of lt1esti1ltic etteu on till othn it has
been treated having some sort of iconic or iconographic meaning
Wherl ornament has IWln valued f(lr its aesthetic qualitils the word stvle
is frllJulnrly lkplmlJ 1 1 h~lT so br avoided this tlrln bur it can lX lIsed to
distinguish several c1oscl rcluld versions of an ornamental tradition over a limited
period of titnt Ihm the Bo Ju Ii (Figurl 1) can be described as carrying ornament
in an llriy Zhou styk by which I I11lan that it is a Zhou-pniod varial][ of the
ue Shang phsl of the ornaI11lnt sstem Jhl Mai Ii (Figure ) can bl lkscribed
as a Zhou-stylc rnival of rhe early Shang stagls of the systcm But a discussion
of ornament as stvle llonl docs not enable LIS to rlad the pmsible associations
thaI thlsl bronzes cOIleVld when emplmed in tillir original COl1tlxts for has an
iconographic approach proved sLlccessftd ill lllvcloping such a projlct Attllllpts
to identif) particular Illotif~ as carrying splcihc relerellcls to crearures or deitils
described olltside the realm of bronzl design haT nor provld fiuitful and not
only blGlllSe there arl no satisElctory altlrnative SOllfClS from which to dcriw
evidence of such deities I he principal probkm is tll~lf an iconographic approach
overlooks thl value of thl ari~l[iollS of a single motif as pan of a system of design
to carry associations I 1hus some motifs ll1av have had a meaning in till sensl of
referring to particular UTltltllrlS living and imaginary But to tah this point of
view does nothing to explain thl very largl IlllJllblr of variations of dragollS or
frontal EKes known as tlotil To advance this aspect of the discussion I will now
consider some of the ways in which ritual bronzes might have convlyld meanings
or rather associuions
r RFIFT1C THE PAST
Materiality and Meaning Ir is evident from the primary function of the bronze vessels that they were important
sites of commLllliClrion Xlhen used ro offer wine and food to rhe ancestors the
bronzes mediated between the living and the unseen spirits In terms of Alfred
Cdls work the vessels were agcnts acting upon tO separatcd consdruencics and
thndw putting them in cOl11mullication with one another lhe poems of rhe Sb
i (Book SOllgl) providc thc most accessihle evidence that the scem of
food and wine held in thc n~ssels a onc Illcans to arrract ancestral spirits that is
m communicate with thelllCi Another f(lllll ofconract was established through the
words cast in the brollzcs Long inscriptions primarilY in or on early Zhou bronzes
wcn addresscd ro the anccstors and to furun descendcnts BricL earlier inscriptions
that recorded clan and regional affiliations also lXpressed the position of rhe sers of
vcssels wirhin a network of ancestors lI1d dcsccndalHs
Jhc bronzes buricd irh fu Han ( rhe consort of rhe Shang King Vu Dillg
(ca 120() BeE) pnlide a good cxample of a Sl( of es~e1s en 11llshed hy their
inscriprions in a complL socilry I he imcriprions include hI Haos name in life
alld her ritual naille after dearh nalllcs of orher Illcmhers of her lineagc nalllcs
of officials associarLli wirh the Slung culr ritual and names of oflici1ls associnLli
with regiolls olltsiJe Allang Such records signalled Fu Haos positioll lI1d
lhar of lin widn tlmik in both soci~tl and ritual rcbtiomhips Alongside or ill
place of rhL i nscri priol1s signa II ing thcsc rei ationsh ips thc vessels thu11Sclves~rhei r
shllXs their sizes and rhcir decoration-arc likely to have been intcgral parrs of
the l11essagc also
Visual displays of the vessels reStlllg UpOI1 an alrar and in movement during
highk choreographed sequences of 1eriollS In rituals would have attracted
attention and cOI1evlll tU Haos staws to the [hing and the dead It is rathn
han1I however imply [(l view all eXlcptionlll hnclv made and~lers as redolcm
of stalllS 1I1d power A l1lorc nuanccd approach is llcclkd to reflect the numcrous
ingenious I11ClllS Iw which people construct thcir ellironll1enrs ro rcalize in highlv
specihc was their idemiries and roles rliari [0 ochers in their societies A growing
theoretical approach thL stud of materiality has sought to give emphasis to rhe
material disrinLthcness of differenr cultures and their specihc practices In rhis
disc()m~e the phsic~ll esistenu of a ork of lrr or 111 arrd1Ct is recognized 1S
an activc componenr in thc cOllstruction and rransmission of rhe culwral lire of
a group of people who emplO rhese artefaCts in their social and religious lives
Such arguments h~1e been put forward by Daniel Miller L)nn Meskell and Tim
Ihm I who used the term 11lltcrialit to embrace the physical and cognlflvc
[
B
re
he
pI
fo
wi
wi
oil
be
th
bo
the
inl
1h
we
ide
bn
Cal
in
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
~url I 1IIl1 Ii II 10
L Xltnn IIHlU period
thmiddot](lth clI1T 1(1
(ltcd from J()mh
2~ I at Liulil 1ltII112h1I1
Ir Helling Jrolll X1IlWil
hamhl cd
qillgtfJigqi Yllilll If -lk~
n Ilf(hincl Br01Ul
_ijill lllll LiHthtllhl 7() no 2(1
sign the other
ration from an
ze vessels were
to make ritual
lI1Ct Honored
tlcestral spirits
time the use
owners I he
nent of ri tual
hang or Zhou
lrely would all
ed decoration
REVIVIN( ANCIENT ORIET AD THE PRESENCE OF THE PAST
rigUT 21 -bi Ii 1H() un Xcrn Zilol
fgtltriod II [hIO[h (ctun
flUc hGtva[ld hOIll I JIltgt
1211 at liliile itnlhlIl
ncar BLijing Irom Bdjil1g
shi VlIlWtl yil1jiil-Utl
Liuile Xj fJ1t II5I(
JJlI(j fY-3-Y- l-kijillg
XlTilIlhHh~1t1 hl 1 q)=)
wlo[ 11 2~
But regardless of date or decor the differences and similarities between them
were significant
lhe decorative differences must have been recognized bur did members
of Shang and Zhou elite bmilies recognize that pieces carried associations with
the past Are rderences to the past within the decor of bronzes a special t(Jrll1 of
ritual or ideological communication [ hese arc some of the many questions that
this conjunction or juxtapositioll o~ two bronzes poses I shall respond to these
questions through an exalllinarion of the luture of bronze onument that allowed
viewers of the pas and allows us toda) to sense the correlation between ornament
and its use at particular times and places Bronze ornament was the product of a
readily inrelligible system which depended on replication of design demen ts
from one generation to the next JOt onlv were motifs repeated on different vessels
of the same period bur as here designs from an earlier period could be recreated on
RE[-JVE-IT-JG THE PAST
Fipll 2h Rubhi1S of the dC(Oralioll on the lai Ii
later pieces Replication of past designs was a f()[ll ofcultural reproducrion through
which the patrons and owners of vessels allowed ideas about themselves and their
relations to past traditions to rake a visual form In one sense such reproduction
depended Oil conrinuiry but by owning and llsing vessels thar called to mind more
remote eras tbe patrons also reacbed back beyond the immediate past in order to
associate themselves with earlier generations and their deeds
Ihe two Western Zhou Ii vessels further draw attenrion to the privileged role of
rima vessels in tbe phenomenon of archaism in Chinese visual culture known as
illlgru flj i II or imitating the past Ihe vessels show that self-conscious eft()rrs to
recreau ancienr f(ml1S and decor began in China at a very early date We know well
the revivals in paiming calligraphy and other tmdia from the Song (960-1279)
to the Qi ng (1644-]91 ]) periods and I have elsewhere discllssed archaism in
bronzes of the 9th-7th centuries Be E as well as other forms of revival ()ne of the
purposes of this paper is to add another chronological layer to our understanding of
an early srage in the history ofjfmgfJJI It is a stage that is rarely irever considered
perhaps because obsession with individual motifs most especially rhe t(wtif has
polarized schobrly views and dcHecred attention aW1Y iiom lrchaism evidenr in a
close study of variation ill bronze decor
Sets Ornament and the Ornament System In any culture revivals of forms and decoration of past arreElCts and buildings
depend upon the ability of viewers to recognize these references Recognition must
distinguish past from presenr and revival from contemporary flshion Perception of
difFerence is essenrial If people of later generations cannot ideJ1[it allllsions to the
past through linguistic or visual rderences they cannot manipulate such references
[0 achieve social or ideological goals
One means of distinguishing contemporary design from revivals depends Oil
our ability to recognize combinations of f()ffTI and decoration specific to certain
)()
~--zmiddotmiddotmiddot(
J - ~ --I ~
lucrion through
nselves and their
ch reproduccion
~d [0 mind more
past in order ro
privileged role of
Jlture known as
lscious df()f(s to
e We know well
ong (O-1279)
sed archaism in
iva One of the
Jllderstanding of
ever considered
Iy tbe ramie has
lism evident in a
n
rs and buildings
ecognirion mllst
)n Perception of
y allusions to the
e such references
vals depends on
)ecihc [0 certain
REV I V I -r C Ai C I Ic-r TOR -r 1 E -r T -r l) T H F PRE S Ie C F 0 I T H l I AS T
particular periods is a skill widely distributed and widely exploited in many
cultures To understand more full what was achieved lw the Shang and Zbou
revivals I shall consider the systems of design that were employed to embellish
ritual bronzes f()r tbe motifs and their organization t()llowed patterns that allowed
and still allow viewers to calibrate them againsr rimc and place
An ornament system is tltlllllded upon rhe lise of cOllSticuent visual elements
or parrs thar an combined 1Ccording (0 certain rules OWl time rhe numbers of
the pans and modes in which thcy arc execlHed nLry change and the ruks
may be modified Nonerheless it remains possible ro trace borh rhe constituent
elements and the underlying rules of ornament systems ovn long pniods of time
Within highly ordered sysnll1s and their evolutionary trends over rime changes of
direction so ro ~leak with earlier designs inserted ar a later poinL show up rarher
dearly Among the most Ellniliar of sllch s~tems is that of Western architec(Ure
with revivals occlIrri ng ar sevlral stages over cwo m i Ilenn ia
111e decoration ofrhe Chinese hronzes tlt)JIllS another elegant ornamellt system-
To analyze sllch systems w need to recofnize that this ornamenr was inseparable
from the three-dimensional objects 011 which it appeared and cannot lx considered
in terms of individuall110tifs on Hat slIrtrces Boob that simpl reproduce bronze
decor in the tltlrI11 of rubbings and drawings suggesting visually [hat ornament
was organized on a Har surbce distorr its essential cluracceL lhe bllHr1o EilTS
on (he BOlll Ii gain dramatic emphasis as they both t()llow and stand awry from
[he rounded lobes and rise lip from [he Hat lid (Figure J) Jhe narrow hordLT of
EKe and quills on the Mai Ii (Figure 2) is matched with rhe slllooth rounded hody
of the second piece FurrhLT both vessels belonged to rhe same individual and
were prohrbly to be lIsld (Ofether and viewed simultaneously In conscquence the
ornament of a particular piece must be understood as one unit within a larger
set One of rhe principal rules or constraints on rhL ortlllllenr svstem was the
dependence of the rimrl on designated categories of vessels Ornamenr had to fit
these given vessel types and the several VCSSl I types were inevitably seen rogcther
when used sinlltlt1l1eouslv
These bronzes were casr III ceramic piecc molds whose divisions frequently
provided venlcal framing devices tltJr some motifs or Llivided orhers symmetrically
Horizolltal divisions ltlned as another flan ot- the organization of the vessel SUrE1Cc 1o
~rhus on the Bo Ju Ii vertical divisions between the molds gave rise to linls cutting
the btlfEllo heads symnwtricallv down lobes whi Ie horizonral bands were created
to display dragons around [he Illck 111ese divisions organizing the motifs llong
with the given vessel shapes and combinations of shapes in sets f(mllcd the ruks
11
---~--~-------~----------~--- _-shy
REl~F-TI~C THE PAST
(hat underpinned the ornament system The motifs that at different chronological
points were organized by these rules fl)[I11ed the parts Other parrs included
Ranges and three-dimensional heads 011 lids shoulders and handles On the two Ii
vessels we see ver~ different component parts applied although the rules flJr the
use of the vessel shape and for the vertical and horizontal divisions are the same
for both Tvo cultural practices ensured continued llse and development of the
ornament system the ritual offerings to the ancestors and the craft traditiolJS of the
ceramic mold-making technolog which underpinned the production of bronze
vessels in China
In the Shang and Zhou periods the ltletllalmotifs or parts to which these rules
were applied underwent two or three major changes as we shall note helow To
understand the sources of rhe decoration of a band with quills on the Ii in figure
2 we have to go back to the bronzes of the early Shang c11 lOO-1500 BCE I he
decor of ShlI1g brol1es can be divided imo two main chronological stages Ihe
first stage is typical of the pre- and earlv-Anyang periods LIming which the parts
consisted of SGolls and quill parrerns orglI1ized around eves to suggest the bces of
creatures (sometimes called Loehr Styles 1- I11) [ he second stage is that of the
main Anyang period (ca 1500-10)0 BCF) whel1 more legible t(wtie moritS with
clelrly defined eyes cars horns and bodies often combined with dragon or birdshy
like creatures (known as Loehr Styles [V-V) were current Ihe major diHerence
between the two stages lies in the treatment of the background of ltll1gular spirals
known as eizuili against which zool1lorphic creatllres cOllld be perceived
Decor coml11only lIsed flH vessels of rhe carly estern Zholl was similar to
that of the second phase of ShlI1g bronze prodllcriol1 he Bo III Ii belongs to
this second phase Viewed by sOl11eone aware of this contrlst hetween the earlier
lnd the later srages the other Western Zholl Ii vessel decorated with a plain band
arollnd the neck would have looked old-tlshiol1eLl and would have been perceived
as a revival or evocation of the earlier l110de of decoration nor as a deployment of
current Elshion However while we consider such revivals as examples of an inrerest
in the past to the pcopk of the Zholl period they may have signalled a rd(rence
rather to an earlier generation In other words the differences in decorative mode
might have been viewed in terms of Ell11ih historv rather than in terms of a known
lnd recorded rime
Rdevltlnr to other types of revival whicb will be discussed only brieRy arc the
later changes in bronze design and function that occurred in the middk to late
Western Zh()U 1 his radical trallsformation of decor took the f(HI11 of repetitive
and geometric rendering of zoomorpbic motifs hom the sixth cenrurv BeE
analogical
included
the (WO Ii
lIes for the
the same
em of the
ions of the
of bronze
these rules
below J()
j in Figure
BeE Illl
[ages I hl
h the pans
he bees of
that of the
lOtifs with
on or birdshy
difFerlnce
lIar spirals
Tceivnl
similar [()
belongs to
the larlilr
plain band
1 percliYed
loymllH of
an inrlrlst
a rderence
Hive mode
)fl known
fly are the
die to late
f repetitive
rury BeE
REVIVIlG A~CIE~T OR~lEgtT A[) THE IRESFCE Of THE PAST
onwards interlace and inla) provided the characteristics of rhe last phase of Zhou
bronze decor Bur despite these quire major changes in parts of the ornamenraJ
system vessels continued [0 be cast in piece molds and used in sets lhus the
ways in which the ornament was organized and deployed across seveul vessels Llsld
togedler followed rhe underlying rules typical of much earlier periods
I have chosen to emphasize the undlrl)ing ortlament sslcm in ordlr to makl
clear the framework of design within which revivals could be difFlrcnriated from
vessels in a more conremporarv mode tor only if that difFerentiation was possible
could allusions and associations be linked with the difFenm pilcls We see here a
powerful example of Ddellzes emphasis on difference and ITpetition1 i It is indeld
possible to argue that variations in ornamlnt within a given )stem bcilitatld a
series of signals in slmiotic terms Ornal1llllt wa a very powerfttl instrtll11lllt
by which information could be exchanged bltwlcn n1ll11bns of elite bmilies In
previolls writings two rarhlr ditterent approaches have been taken on the one
hand ornaJ11lnt has been regarded as a mann of lt1esti1ltic etteu on till othn it has
been treated having some sort of iconic or iconographic meaning
Wherl ornament has IWln valued f(lr its aesthetic qualitils the word stvle
is frllJulnrly lkplmlJ 1 1 h~lT so br avoided this tlrln bur it can lX lIsed to
distinguish several c1oscl rcluld versions of an ornamental tradition over a limited
period of titnt Ihm the Bo Ju Ii (Figurl 1) can be described as carrying ornament
in an llriy Zhou styk by which I I11lan that it is a Zhou-pniod varial][ of the
ue Shang phsl of the ornaI11lnt sstem Jhl Mai Ii (Figure ) can bl lkscribed
as a Zhou-stylc rnival of rhe early Shang stagls of the systcm But a discussion
of ornament as stvle llonl docs not enable LIS to rlad the pmsible associations
thaI thlsl bronzes cOIleVld when emplmed in tillir original COl1tlxts for has an
iconographic approach proved sLlccessftd ill lllvcloping such a projlct Attllllpts
to identif) particular Illotif~ as carrying splcihc relerellcls to crearures or deitils
described olltside the realm of bronzl design haT nor provld fiuitful and not
only blGlllSe there arl no satisElctory altlrnative SOllfClS from which to dcriw
evidence of such deities I he principal probkm is tll~lf an iconographic approach
overlooks thl value of thl ari~l[iollS of a single motif as pan of a system of design
to carry associations I 1hus some motifs ll1av have had a meaning in till sensl of
referring to particular UTltltllrlS living and imaginary But to tah this point of
view does nothing to explain thl very largl IlllJllblr of variations of dragollS or
frontal EKes known as tlotil To advance this aspect of the discussion I will now
consider some of the ways in which ritual bronzes might have convlyld meanings
or rather associuions
r RFIFT1C THE PAST
Materiality and Meaning Ir is evident from the primary function of the bronze vessels that they were important
sites of commLllliClrion Xlhen used ro offer wine and food to rhe ancestors the
bronzes mediated between the living and the unseen spirits In terms of Alfred
Cdls work the vessels were agcnts acting upon tO separatcd consdruencics and
thndw putting them in cOl11mullication with one another lhe poems of rhe Sb
i (Book SOllgl) providc thc most accessihle evidence that the scem of
food and wine held in thc n~ssels a onc Illcans to arrract ancestral spirits that is
m communicate with thelllCi Another f(lllll ofconract was established through the
words cast in the brollzcs Long inscriptions primarilY in or on early Zhou bronzes
wcn addresscd ro the anccstors and to furun descendcnts BricL earlier inscriptions
that recorded clan and regional affiliations also lXpressed the position of rhe sers of
vcssels wirhin a network of ancestors lI1d dcsccndalHs
Jhc bronzes buricd irh fu Han ( rhe consort of rhe Shang King Vu Dillg
(ca 120() BeE) pnlide a good cxample of a Sl( of es~e1s en 11llshed hy their
inscriprions in a complL socilry I he imcriprions include hI Haos name in life
alld her ritual naille after dearh nalllcs of orher Illcmhers of her lineagc nalllcs
of officials associarLli wirh the Slung culr ritual and names of oflici1ls associnLli
with regiolls olltsiJe Allang Such records signalled Fu Haos positioll lI1d
lhar of lin widn tlmik in both soci~tl and ritual rcbtiomhips Alongside or ill
place of rhL i nscri priol1s signa II ing thcsc rei ationsh ips thc vessels thu11Sclves~rhei r
shllXs their sizes and rhcir decoration-arc likely to have been intcgral parrs of
the l11essagc also
Visual displays of the vessels reStlllg UpOI1 an alrar and in movement during
highk choreographed sequences of 1eriollS In rituals would have attracted
attention and cOI1evlll tU Haos staws to the [hing and the dead It is rathn
han1I however imply [(l view all eXlcptionlll hnclv made and~lers as redolcm
of stalllS 1I1d power A l1lorc nuanccd approach is llcclkd to reflect the numcrous
ingenious I11ClllS Iw which people construct thcir ellironll1enrs ro rcalize in highlv
specihc was their idemiries and roles rliari [0 ochers in their societies A growing
theoretical approach thL stud of materiality has sought to give emphasis to rhe
material disrinLthcness of differenr cultures and their specihc practices In rhis
disc()m~e the phsic~ll esistenu of a ork of lrr or 111 arrd1Ct is recognized 1S
an activc componenr in thc cOllstruction and rransmission of rhe culwral lire of
a group of people who emplO rhese artefaCts in their social and religious lives
Such arguments h~1e been put forward by Daniel Miller L)nn Meskell and Tim
Ihm I who used the term 11lltcrialit to embrace the physical and cognlflvc
[
B
re
he
pI
fo
wi
wi
oil
be
th
bo
the
inl
1h
we
ide
bn
Cal
in
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
RE[-JVE-IT-JG THE PAST
Fipll 2h Rubhi1S of the dC(Oralioll on the lai Ii
later pieces Replication of past designs was a f()[ll ofcultural reproducrion through
which the patrons and owners of vessels allowed ideas about themselves and their
relations to past traditions to rake a visual form In one sense such reproduction
depended Oil conrinuiry but by owning and llsing vessels thar called to mind more
remote eras tbe patrons also reacbed back beyond the immediate past in order to
associate themselves with earlier generations and their deeds
Ihe two Western Zhou Ii vessels further draw attenrion to the privileged role of
rima vessels in tbe phenomenon of archaism in Chinese visual culture known as
illlgru flj i II or imitating the past Ihe vessels show that self-conscious eft()rrs to
recreau ancienr f(ml1S and decor began in China at a very early date We know well
the revivals in paiming calligraphy and other tmdia from the Song (960-1279)
to the Qi ng (1644-]91 ]) periods and I have elsewhere discllssed archaism in
bronzes of the 9th-7th centuries Be E as well as other forms of revival ()ne of the
purposes of this paper is to add another chronological layer to our understanding of
an early srage in the history ofjfmgfJJI It is a stage that is rarely irever considered
perhaps because obsession with individual motifs most especially rhe t(wtif has
polarized schobrly views and dcHecred attention aW1Y iiom lrchaism evidenr in a
close study of variation ill bronze decor
Sets Ornament and the Ornament System In any culture revivals of forms and decoration of past arreElCts and buildings
depend upon the ability of viewers to recognize these references Recognition must
distinguish past from presenr and revival from contemporary flshion Perception of
difFerence is essenrial If people of later generations cannot ideJ1[it allllsions to the
past through linguistic or visual rderences they cannot manipulate such references
[0 achieve social or ideological goals
One means of distinguishing contemporary design from revivals depends Oil
our ability to recognize combinations of f()ffTI and decoration specific to certain
)()
~--zmiddotmiddotmiddot(
J - ~ --I ~
lucrion through
nselves and their
ch reproduccion
~d [0 mind more
past in order ro
privileged role of
Jlture known as
lscious df()f(s to
e We know well
ong (O-1279)
sed archaism in
iva One of the
Jllderstanding of
ever considered
Iy tbe ramie has
lism evident in a
n
rs and buildings
ecognirion mllst
)n Perception of
y allusions to the
e such references
vals depends on
)ecihc [0 certain
REV I V I -r C Ai C I Ic-r TOR -r 1 E -r T -r l) T H F PRE S Ie C F 0 I T H l I AS T
particular periods is a skill widely distributed and widely exploited in many
cultures To understand more full what was achieved lw the Shang and Zbou
revivals I shall consider the systems of design that were employed to embellish
ritual bronzes f()r tbe motifs and their organization t()llowed patterns that allowed
and still allow viewers to calibrate them againsr rimc and place
An ornament system is tltlllllded upon rhe lise of cOllSticuent visual elements
or parrs thar an combined 1Ccording (0 certain rules OWl time rhe numbers of
the pans and modes in which thcy arc execlHed nLry change and the ruks
may be modified Nonerheless it remains possible ro trace borh rhe constituent
elements and the underlying rules of ornament systems ovn long pniods of time
Within highly ordered sysnll1s and their evolutionary trends over rime changes of
direction so ro ~leak with earlier designs inserted ar a later poinL show up rarher
dearly Among the most Ellniliar of sllch s~tems is that of Western architec(Ure
with revivals occlIrri ng ar sevlral stages over cwo m i Ilenn ia
111e decoration ofrhe Chinese hronzes tlt)JIllS another elegant ornamellt system-
To analyze sllch systems w need to recofnize that this ornamenr was inseparable
from the three-dimensional objects 011 which it appeared and cannot lx considered
in terms of individuall110tifs on Hat slIrtrces Boob that simpl reproduce bronze
decor in the tltlrI11 of rubbings and drawings suggesting visually [hat ornament
was organized on a Har surbce distorr its essential cluracceL lhe bllHr1o EilTS
on (he BOlll Ii gain dramatic emphasis as they both t()llow and stand awry from
[he rounded lobes and rise lip from [he Hat lid (Figure J) Jhe narrow hordLT of
EKe and quills on the Mai Ii (Figure 2) is matched with rhe slllooth rounded hody
of the second piece FurrhLT both vessels belonged to rhe same individual and
were prohrbly to be lIsld (Ofether and viewed simultaneously In conscquence the
ornament of a particular piece must be understood as one unit within a larger
set One of rhe principal rules or constraints on rhL ortlllllenr svstem was the
dependence of the rimrl on designated categories of vessels Ornamenr had to fit
these given vessel types and the several VCSSl I types were inevitably seen rogcther
when used sinlltlt1l1eouslv
These bronzes were casr III ceramic piecc molds whose divisions frequently
provided venlcal framing devices tltJr some motifs or Llivided orhers symmetrically
Horizolltal divisions ltlned as another flan ot- the organization of the vessel SUrE1Cc 1o
~rhus on the Bo Ju Ii vertical divisions between the molds gave rise to linls cutting
the btlfEllo heads symnwtricallv down lobes whi Ie horizonral bands were created
to display dragons around [he Illck 111ese divisions organizing the motifs llong
with the given vessel shapes and combinations of shapes in sets f(mllcd the ruks
11
---~--~-------~----------~--- _-shy
REl~F-TI~C THE PAST
(hat underpinned the ornament system The motifs that at different chronological
points were organized by these rules fl)[I11ed the parts Other parrs included
Ranges and three-dimensional heads 011 lids shoulders and handles On the two Ii
vessels we see ver~ different component parts applied although the rules flJr the
use of the vessel shape and for the vertical and horizontal divisions are the same
for both Tvo cultural practices ensured continued llse and development of the
ornament system the ritual offerings to the ancestors and the craft traditiolJS of the
ceramic mold-making technolog which underpinned the production of bronze
vessels in China
In the Shang and Zhou periods the ltletllalmotifs or parts to which these rules
were applied underwent two or three major changes as we shall note helow To
understand the sources of rhe decoration of a band with quills on the Ii in figure
2 we have to go back to the bronzes of the early Shang c11 lOO-1500 BCE I he
decor of ShlI1g brol1es can be divided imo two main chronological stages Ihe
first stage is typical of the pre- and earlv-Anyang periods LIming which the parts
consisted of SGolls and quill parrerns orglI1ized around eves to suggest the bces of
creatures (sometimes called Loehr Styles 1- I11) [ he second stage is that of the
main Anyang period (ca 1500-10)0 BCF) whel1 more legible t(wtie moritS with
clelrly defined eyes cars horns and bodies often combined with dragon or birdshy
like creatures (known as Loehr Styles [V-V) were current Ihe major diHerence
between the two stages lies in the treatment of the background of ltll1gular spirals
known as eizuili against which zool1lorphic creatllres cOllld be perceived
Decor coml11only lIsed flH vessels of rhe carly estern Zholl was similar to
that of the second phase of ShlI1g bronze prodllcriol1 he Bo III Ii belongs to
this second phase Viewed by sOl11eone aware of this contrlst hetween the earlier
lnd the later srages the other Western Zholl Ii vessel decorated with a plain band
arollnd the neck would have looked old-tlshiol1eLl and would have been perceived
as a revival or evocation of the earlier l110de of decoration nor as a deployment of
current Elshion However while we consider such revivals as examples of an inrerest
in the past to the pcopk of the Zholl period they may have signalled a rd(rence
rather to an earlier generation In other words the differences in decorative mode
might have been viewed in terms of Ell11ih historv rather than in terms of a known
lnd recorded rime
Rdevltlnr to other types of revival whicb will be discussed only brieRy arc the
later changes in bronze design and function that occurred in the middk to late
Western Zh()U 1 his radical trallsformation of decor took the f(HI11 of repetitive
and geometric rendering of zoomorpbic motifs hom the sixth cenrurv BeE
analogical
included
the (WO Ii
lIes for the
the same
em of the
ions of the
of bronze
these rules
below J()
j in Figure
BeE Illl
[ages I hl
h the pans
he bees of
that of the
lOtifs with
on or birdshy
difFerlnce
lIar spirals
Tceivnl
similar [()
belongs to
the larlilr
plain band
1 percliYed
loymllH of
an inrlrlst
a rderence
Hive mode
)fl known
fly are the
die to late
f repetitive
rury BeE
REVIVIlG A~CIE~T OR~lEgtT A[) THE IRESFCE Of THE PAST
onwards interlace and inla) provided the characteristics of rhe last phase of Zhou
bronze decor Bur despite these quire major changes in parts of the ornamenraJ
system vessels continued [0 be cast in piece molds and used in sets lhus the
ways in which the ornament was organized and deployed across seveul vessels Llsld
togedler followed rhe underlying rules typical of much earlier periods
I have chosen to emphasize the undlrl)ing ortlament sslcm in ordlr to makl
clear the framework of design within which revivals could be difFlrcnriated from
vessels in a more conremporarv mode tor only if that difFerentiation was possible
could allusions and associations be linked with the difFenm pilcls We see here a
powerful example of Ddellzes emphasis on difference and ITpetition1 i It is indeld
possible to argue that variations in ornamlnt within a given )stem bcilitatld a
series of signals in slmiotic terms Ornal1llllt wa a very powerfttl instrtll11lllt
by which information could be exchanged bltwlcn n1ll11bns of elite bmilies In
previolls writings two rarhlr ditterent approaches have been taken on the one
hand ornaJ11lnt has been regarded as a mann of lt1esti1ltic etteu on till othn it has
been treated having some sort of iconic or iconographic meaning
Wherl ornament has IWln valued f(lr its aesthetic qualitils the word stvle
is frllJulnrly lkplmlJ 1 1 h~lT so br avoided this tlrln bur it can lX lIsed to
distinguish several c1oscl rcluld versions of an ornamental tradition over a limited
period of titnt Ihm the Bo Ju Ii (Figurl 1) can be described as carrying ornament
in an llriy Zhou styk by which I I11lan that it is a Zhou-pniod varial][ of the
ue Shang phsl of the ornaI11lnt sstem Jhl Mai Ii (Figure ) can bl lkscribed
as a Zhou-stylc rnival of rhe early Shang stagls of the systcm But a discussion
of ornament as stvle llonl docs not enable LIS to rlad the pmsible associations
thaI thlsl bronzes cOIleVld when emplmed in tillir original COl1tlxts for has an
iconographic approach proved sLlccessftd ill lllvcloping such a projlct Attllllpts
to identif) particular Illotif~ as carrying splcihc relerellcls to crearures or deitils
described olltside the realm of bronzl design haT nor provld fiuitful and not
only blGlllSe there arl no satisElctory altlrnative SOllfClS from which to dcriw
evidence of such deities I he principal probkm is tll~lf an iconographic approach
overlooks thl value of thl ari~l[iollS of a single motif as pan of a system of design
to carry associations I 1hus some motifs ll1av have had a meaning in till sensl of
referring to particular UTltltllrlS living and imaginary But to tah this point of
view does nothing to explain thl very largl IlllJllblr of variations of dragollS or
frontal EKes known as tlotil To advance this aspect of the discussion I will now
consider some of the ways in which ritual bronzes might have convlyld meanings
or rather associuions
r RFIFT1C THE PAST
Materiality and Meaning Ir is evident from the primary function of the bronze vessels that they were important
sites of commLllliClrion Xlhen used ro offer wine and food to rhe ancestors the
bronzes mediated between the living and the unseen spirits In terms of Alfred
Cdls work the vessels were agcnts acting upon tO separatcd consdruencics and
thndw putting them in cOl11mullication with one another lhe poems of rhe Sb
i (Book SOllgl) providc thc most accessihle evidence that the scem of
food and wine held in thc n~ssels a onc Illcans to arrract ancestral spirits that is
m communicate with thelllCi Another f(lllll ofconract was established through the
words cast in the brollzcs Long inscriptions primarilY in or on early Zhou bronzes
wcn addresscd ro the anccstors and to furun descendcnts BricL earlier inscriptions
that recorded clan and regional affiliations also lXpressed the position of rhe sers of
vcssels wirhin a network of ancestors lI1d dcsccndalHs
Jhc bronzes buricd irh fu Han ( rhe consort of rhe Shang King Vu Dillg
(ca 120() BeE) pnlide a good cxample of a Sl( of es~e1s en 11llshed hy their
inscriprions in a complL socilry I he imcriprions include hI Haos name in life
alld her ritual naille after dearh nalllcs of orher Illcmhers of her lineagc nalllcs
of officials associarLli wirh the Slung culr ritual and names of oflici1ls associnLli
with regiolls olltsiJe Allang Such records signalled Fu Haos positioll lI1d
lhar of lin widn tlmik in both soci~tl and ritual rcbtiomhips Alongside or ill
place of rhL i nscri priol1s signa II ing thcsc rei ationsh ips thc vessels thu11Sclves~rhei r
shllXs their sizes and rhcir decoration-arc likely to have been intcgral parrs of
the l11essagc also
Visual displays of the vessels reStlllg UpOI1 an alrar and in movement during
highk choreographed sequences of 1eriollS In rituals would have attracted
attention and cOI1evlll tU Haos staws to the [hing and the dead It is rathn
han1I however imply [(l view all eXlcptionlll hnclv made and~lers as redolcm
of stalllS 1I1d power A l1lorc nuanccd approach is llcclkd to reflect the numcrous
ingenious I11ClllS Iw which people construct thcir ellironll1enrs ro rcalize in highlv
specihc was their idemiries and roles rliari [0 ochers in their societies A growing
theoretical approach thL stud of materiality has sought to give emphasis to rhe
material disrinLthcness of differenr cultures and their specihc practices In rhis
disc()m~e the phsic~ll esistenu of a ork of lrr or 111 arrd1Ct is recognized 1S
an activc componenr in thc cOllstruction and rransmission of rhe culwral lire of
a group of people who emplO rhese artefaCts in their social and religious lives
Such arguments h~1e been put forward by Daniel Miller L)nn Meskell and Tim
Ihm I who used the term 11lltcrialit to embrace the physical and cognlflvc
[
B
re
he
pI
fo
wi
wi
oil
be
th
bo
the
inl
1h
we
ide
bn
Cal
in
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
~--zmiddotmiddotmiddot(
J - ~ --I ~
lucrion through
nselves and their
ch reproduccion
~d [0 mind more
past in order ro
privileged role of
Jlture known as
lscious df()f(s to
e We know well
ong (O-1279)
sed archaism in
iva One of the
Jllderstanding of
ever considered
Iy tbe ramie has
lism evident in a
n
rs and buildings
ecognirion mllst
)n Perception of
y allusions to the
e such references
vals depends on
)ecihc [0 certain
REV I V I -r C Ai C I Ic-r TOR -r 1 E -r T -r l) T H F PRE S Ie C F 0 I T H l I AS T
particular periods is a skill widely distributed and widely exploited in many
cultures To understand more full what was achieved lw the Shang and Zbou
revivals I shall consider the systems of design that were employed to embellish
ritual bronzes f()r tbe motifs and their organization t()llowed patterns that allowed
and still allow viewers to calibrate them againsr rimc and place
An ornament system is tltlllllded upon rhe lise of cOllSticuent visual elements
or parrs thar an combined 1Ccording (0 certain rules OWl time rhe numbers of
the pans and modes in which thcy arc execlHed nLry change and the ruks
may be modified Nonerheless it remains possible ro trace borh rhe constituent
elements and the underlying rules of ornament systems ovn long pniods of time
Within highly ordered sysnll1s and their evolutionary trends over rime changes of
direction so ro ~leak with earlier designs inserted ar a later poinL show up rarher
dearly Among the most Ellniliar of sllch s~tems is that of Western architec(Ure
with revivals occlIrri ng ar sevlral stages over cwo m i Ilenn ia
111e decoration ofrhe Chinese hronzes tlt)JIllS another elegant ornamellt system-
To analyze sllch systems w need to recofnize that this ornamenr was inseparable
from the three-dimensional objects 011 which it appeared and cannot lx considered
in terms of individuall110tifs on Hat slIrtrces Boob that simpl reproduce bronze
decor in the tltlrI11 of rubbings and drawings suggesting visually [hat ornament
was organized on a Har surbce distorr its essential cluracceL lhe bllHr1o EilTS
on (he BOlll Ii gain dramatic emphasis as they both t()llow and stand awry from
[he rounded lobes and rise lip from [he Hat lid (Figure J) Jhe narrow hordLT of
EKe and quills on the Mai Ii (Figure 2) is matched with rhe slllooth rounded hody
of the second piece FurrhLT both vessels belonged to rhe same individual and
were prohrbly to be lIsld (Ofether and viewed simultaneously In conscquence the
ornament of a particular piece must be understood as one unit within a larger
set One of rhe principal rules or constraints on rhL ortlllllenr svstem was the
dependence of the rimrl on designated categories of vessels Ornamenr had to fit
these given vessel types and the several VCSSl I types were inevitably seen rogcther
when used sinlltlt1l1eouslv
These bronzes were casr III ceramic piecc molds whose divisions frequently
provided venlcal framing devices tltJr some motifs or Llivided orhers symmetrically
Horizolltal divisions ltlned as another flan ot- the organization of the vessel SUrE1Cc 1o
~rhus on the Bo Ju Ii vertical divisions between the molds gave rise to linls cutting
the btlfEllo heads symnwtricallv down lobes whi Ie horizonral bands were created
to display dragons around [he Illck 111ese divisions organizing the motifs llong
with the given vessel shapes and combinations of shapes in sets f(mllcd the ruks
11
---~--~-------~----------~--- _-shy
REl~F-TI~C THE PAST
(hat underpinned the ornament system The motifs that at different chronological
points were organized by these rules fl)[I11ed the parts Other parrs included
Ranges and three-dimensional heads 011 lids shoulders and handles On the two Ii
vessels we see ver~ different component parts applied although the rules flJr the
use of the vessel shape and for the vertical and horizontal divisions are the same
for both Tvo cultural practices ensured continued llse and development of the
ornament system the ritual offerings to the ancestors and the craft traditiolJS of the
ceramic mold-making technolog which underpinned the production of bronze
vessels in China
In the Shang and Zhou periods the ltletllalmotifs or parts to which these rules
were applied underwent two or three major changes as we shall note helow To
understand the sources of rhe decoration of a band with quills on the Ii in figure
2 we have to go back to the bronzes of the early Shang c11 lOO-1500 BCE I he
decor of ShlI1g brol1es can be divided imo two main chronological stages Ihe
first stage is typical of the pre- and earlv-Anyang periods LIming which the parts
consisted of SGolls and quill parrerns orglI1ized around eves to suggest the bces of
creatures (sometimes called Loehr Styles 1- I11) [ he second stage is that of the
main Anyang period (ca 1500-10)0 BCF) whel1 more legible t(wtie moritS with
clelrly defined eyes cars horns and bodies often combined with dragon or birdshy
like creatures (known as Loehr Styles [V-V) were current Ihe major diHerence
between the two stages lies in the treatment of the background of ltll1gular spirals
known as eizuili against which zool1lorphic creatllres cOllld be perceived
Decor coml11only lIsed flH vessels of rhe carly estern Zholl was similar to
that of the second phase of ShlI1g bronze prodllcriol1 he Bo III Ii belongs to
this second phase Viewed by sOl11eone aware of this contrlst hetween the earlier
lnd the later srages the other Western Zholl Ii vessel decorated with a plain band
arollnd the neck would have looked old-tlshiol1eLl and would have been perceived
as a revival or evocation of the earlier l110de of decoration nor as a deployment of
current Elshion However while we consider such revivals as examples of an inrerest
in the past to the pcopk of the Zholl period they may have signalled a rd(rence
rather to an earlier generation In other words the differences in decorative mode
might have been viewed in terms of Ell11ih historv rather than in terms of a known
lnd recorded rime
Rdevltlnr to other types of revival whicb will be discussed only brieRy arc the
later changes in bronze design and function that occurred in the middk to late
Western Zh()U 1 his radical trallsformation of decor took the f(HI11 of repetitive
and geometric rendering of zoomorpbic motifs hom the sixth cenrurv BeE
analogical
included
the (WO Ii
lIes for the
the same
em of the
ions of the
of bronze
these rules
below J()
j in Figure
BeE Illl
[ages I hl
h the pans
he bees of
that of the
lOtifs with
on or birdshy
difFerlnce
lIar spirals
Tceivnl
similar [()
belongs to
the larlilr
plain band
1 percliYed
loymllH of
an inrlrlst
a rderence
Hive mode
)fl known
fly are the
die to late
f repetitive
rury BeE
REVIVIlG A~CIE~T OR~lEgtT A[) THE IRESFCE Of THE PAST
onwards interlace and inla) provided the characteristics of rhe last phase of Zhou
bronze decor Bur despite these quire major changes in parts of the ornamenraJ
system vessels continued [0 be cast in piece molds and used in sets lhus the
ways in which the ornament was organized and deployed across seveul vessels Llsld
togedler followed rhe underlying rules typical of much earlier periods
I have chosen to emphasize the undlrl)ing ortlament sslcm in ordlr to makl
clear the framework of design within which revivals could be difFlrcnriated from
vessels in a more conremporarv mode tor only if that difFerentiation was possible
could allusions and associations be linked with the difFenm pilcls We see here a
powerful example of Ddellzes emphasis on difference and ITpetition1 i It is indeld
possible to argue that variations in ornamlnt within a given )stem bcilitatld a
series of signals in slmiotic terms Ornal1llllt wa a very powerfttl instrtll11lllt
by which information could be exchanged bltwlcn n1ll11bns of elite bmilies In
previolls writings two rarhlr ditterent approaches have been taken on the one
hand ornaJ11lnt has been regarded as a mann of lt1esti1ltic etteu on till othn it has
been treated having some sort of iconic or iconographic meaning
Wherl ornament has IWln valued f(lr its aesthetic qualitils the word stvle
is frllJulnrly lkplmlJ 1 1 h~lT so br avoided this tlrln bur it can lX lIsed to
distinguish several c1oscl rcluld versions of an ornamental tradition over a limited
period of titnt Ihm the Bo Ju Ii (Figurl 1) can be described as carrying ornament
in an llriy Zhou styk by which I I11lan that it is a Zhou-pniod varial][ of the
ue Shang phsl of the ornaI11lnt sstem Jhl Mai Ii (Figure ) can bl lkscribed
as a Zhou-stylc rnival of rhe early Shang stagls of the systcm But a discussion
of ornament as stvle llonl docs not enable LIS to rlad the pmsible associations
thaI thlsl bronzes cOIleVld when emplmed in tillir original COl1tlxts for has an
iconographic approach proved sLlccessftd ill lllvcloping such a projlct Attllllpts
to identif) particular Illotif~ as carrying splcihc relerellcls to crearures or deitils
described olltside the realm of bronzl design haT nor provld fiuitful and not
only blGlllSe there arl no satisElctory altlrnative SOllfClS from which to dcriw
evidence of such deities I he principal probkm is tll~lf an iconographic approach
overlooks thl value of thl ari~l[iollS of a single motif as pan of a system of design
to carry associations I 1hus some motifs ll1av have had a meaning in till sensl of
referring to particular UTltltllrlS living and imaginary But to tah this point of
view does nothing to explain thl very largl IlllJllblr of variations of dragollS or
frontal EKes known as tlotil To advance this aspect of the discussion I will now
consider some of the ways in which ritual bronzes might have convlyld meanings
or rather associuions
r RFIFT1C THE PAST
Materiality and Meaning Ir is evident from the primary function of the bronze vessels that they were important
sites of commLllliClrion Xlhen used ro offer wine and food to rhe ancestors the
bronzes mediated between the living and the unseen spirits In terms of Alfred
Cdls work the vessels were agcnts acting upon tO separatcd consdruencics and
thndw putting them in cOl11mullication with one another lhe poems of rhe Sb
i (Book SOllgl) providc thc most accessihle evidence that the scem of
food and wine held in thc n~ssels a onc Illcans to arrract ancestral spirits that is
m communicate with thelllCi Another f(lllll ofconract was established through the
words cast in the brollzcs Long inscriptions primarilY in or on early Zhou bronzes
wcn addresscd ro the anccstors and to furun descendcnts BricL earlier inscriptions
that recorded clan and regional affiliations also lXpressed the position of rhe sers of
vcssels wirhin a network of ancestors lI1d dcsccndalHs
Jhc bronzes buricd irh fu Han ( rhe consort of rhe Shang King Vu Dillg
(ca 120() BeE) pnlide a good cxample of a Sl( of es~e1s en 11llshed hy their
inscriprions in a complL socilry I he imcriprions include hI Haos name in life
alld her ritual naille after dearh nalllcs of orher Illcmhers of her lineagc nalllcs
of officials associarLli wirh the Slung culr ritual and names of oflici1ls associnLli
with regiolls olltsiJe Allang Such records signalled Fu Haos positioll lI1d
lhar of lin widn tlmik in both soci~tl and ritual rcbtiomhips Alongside or ill
place of rhL i nscri priol1s signa II ing thcsc rei ationsh ips thc vessels thu11Sclves~rhei r
shllXs their sizes and rhcir decoration-arc likely to have been intcgral parrs of
the l11essagc also
Visual displays of the vessels reStlllg UpOI1 an alrar and in movement during
highk choreographed sequences of 1eriollS In rituals would have attracted
attention and cOI1evlll tU Haos staws to the [hing and the dead It is rathn
han1I however imply [(l view all eXlcptionlll hnclv made and~lers as redolcm
of stalllS 1I1d power A l1lorc nuanccd approach is llcclkd to reflect the numcrous
ingenious I11ClllS Iw which people construct thcir ellironll1enrs ro rcalize in highlv
specihc was their idemiries and roles rliari [0 ochers in their societies A growing
theoretical approach thL stud of materiality has sought to give emphasis to rhe
material disrinLthcness of differenr cultures and their specihc practices In rhis
disc()m~e the phsic~ll esistenu of a ork of lrr or 111 arrd1Ct is recognized 1S
an activc componenr in thc cOllstruction and rransmission of rhe culwral lire of
a group of people who emplO rhese artefaCts in their social and religious lives
Such arguments h~1e been put forward by Daniel Miller L)nn Meskell and Tim
Ihm I who used the term 11lltcrialit to embrace the physical and cognlflvc
[
B
re
he
pI
fo
wi
wi
oil
be
th
bo
the
inl
1h
we
ide
bn
Cal
in
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
---~--~-------~----------~--- _-shy
REl~F-TI~C THE PAST
(hat underpinned the ornament system The motifs that at different chronological
points were organized by these rules fl)[I11ed the parts Other parrs included
Ranges and three-dimensional heads 011 lids shoulders and handles On the two Ii
vessels we see ver~ different component parts applied although the rules flJr the
use of the vessel shape and for the vertical and horizontal divisions are the same
for both Tvo cultural practices ensured continued llse and development of the
ornament system the ritual offerings to the ancestors and the craft traditiolJS of the
ceramic mold-making technolog which underpinned the production of bronze
vessels in China
In the Shang and Zhou periods the ltletllalmotifs or parts to which these rules
were applied underwent two or three major changes as we shall note helow To
understand the sources of rhe decoration of a band with quills on the Ii in figure
2 we have to go back to the bronzes of the early Shang c11 lOO-1500 BCE I he
decor of ShlI1g brol1es can be divided imo two main chronological stages Ihe
first stage is typical of the pre- and earlv-Anyang periods LIming which the parts
consisted of SGolls and quill parrerns orglI1ized around eves to suggest the bces of
creatures (sometimes called Loehr Styles 1- I11) [ he second stage is that of the
main Anyang period (ca 1500-10)0 BCF) whel1 more legible t(wtie moritS with
clelrly defined eyes cars horns and bodies often combined with dragon or birdshy
like creatures (known as Loehr Styles [V-V) were current Ihe major diHerence
between the two stages lies in the treatment of the background of ltll1gular spirals
known as eizuili against which zool1lorphic creatllres cOllld be perceived
Decor coml11only lIsed flH vessels of rhe carly estern Zholl was similar to
that of the second phase of ShlI1g bronze prodllcriol1 he Bo III Ii belongs to
this second phase Viewed by sOl11eone aware of this contrlst hetween the earlier
lnd the later srages the other Western Zholl Ii vessel decorated with a plain band
arollnd the neck would have looked old-tlshiol1eLl and would have been perceived
as a revival or evocation of the earlier l110de of decoration nor as a deployment of
current Elshion However while we consider such revivals as examples of an inrerest
in the past to the pcopk of the Zholl period they may have signalled a rd(rence
rather to an earlier generation In other words the differences in decorative mode
might have been viewed in terms of Ell11ih historv rather than in terms of a known
lnd recorded rime
Rdevltlnr to other types of revival whicb will be discussed only brieRy arc the
later changes in bronze design and function that occurred in the middk to late
Western Zh()U 1 his radical trallsformation of decor took the f(HI11 of repetitive
and geometric rendering of zoomorpbic motifs hom the sixth cenrurv BeE
analogical
included
the (WO Ii
lIes for the
the same
em of the
ions of the
of bronze
these rules
below J()
j in Figure
BeE Illl
[ages I hl
h the pans
he bees of
that of the
lOtifs with
on or birdshy
difFerlnce
lIar spirals
Tceivnl
similar [()
belongs to
the larlilr
plain band
1 percliYed
loymllH of
an inrlrlst
a rderence
Hive mode
)fl known
fly are the
die to late
f repetitive
rury BeE
REVIVIlG A~CIE~T OR~lEgtT A[) THE IRESFCE Of THE PAST
onwards interlace and inla) provided the characteristics of rhe last phase of Zhou
bronze decor Bur despite these quire major changes in parts of the ornamenraJ
system vessels continued [0 be cast in piece molds and used in sets lhus the
ways in which the ornament was organized and deployed across seveul vessels Llsld
togedler followed rhe underlying rules typical of much earlier periods
I have chosen to emphasize the undlrl)ing ortlament sslcm in ordlr to makl
clear the framework of design within which revivals could be difFlrcnriated from
vessels in a more conremporarv mode tor only if that difFerentiation was possible
could allusions and associations be linked with the difFenm pilcls We see here a
powerful example of Ddellzes emphasis on difference and ITpetition1 i It is indeld
possible to argue that variations in ornamlnt within a given )stem bcilitatld a
series of signals in slmiotic terms Ornal1llllt wa a very powerfttl instrtll11lllt
by which information could be exchanged bltwlcn n1ll11bns of elite bmilies In
previolls writings two rarhlr ditterent approaches have been taken on the one
hand ornaJ11lnt has been regarded as a mann of lt1esti1ltic etteu on till othn it has
been treated having some sort of iconic or iconographic meaning
Wherl ornament has IWln valued f(lr its aesthetic qualitils the word stvle
is frllJulnrly lkplmlJ 1 1 h~lT so br avoided this tlrln bur it can lX lIsed to
distinguish several c1oscl rcluld versions of an ornamental tradition over a limited
period of titnt Ihm the Bo Ju Ii (Figurl 1) can be described as carrying ornament
in an llriy Zhou styk by which I I11lan that it is a Zhou-pniod varial][ of the
ue Shang phsl of the ornaI11lnt sstem Jhl Mai Ii (Figure ) can bl lkscribed
as a Zhou-stylc rnival of rhe early Shang stagls of the systcm But a discussion
of ornament as stvle llonl docs not enable LIS to rlad the pmsible associations
thaI thlsl bronzes cOIleVld when emplmed in tillir original COl1tlxts for has an
iconographic approach proved sLlccessftd ill lllvcloping such a projlct Attllllpts
to identif) particular Illotif~ as carrying splcihc relerellcls to crearures or deitils
described olltside the realm of bronzl design haT nor provld fiuitful and not
only blGlllSe there arl no satisElctory altlrnative SOllfClS from which to dcriw
evidence of such deities I he principal probkm is tll~lf an iconographic approach
overlooks thl value of thl ari~l[iollS of a single motif as pan of a system of design
to carry associations I 1hus some motifs ll1av have had a meaning in till sensl of
referring to particular UTltltllrlS living and imaginary But to tah this point of
view does nothing to explain thl very largl IlllJllblr of variations of dragollS or
frontal EKes known as tlotil To advance this aspect of the discussion I will now
consider some of the ways in which ritual bronzes might have convlyld meanings
or rather associuions
r RFIFT1C THE PAST
Materiality and Meaning Ir is evident from the primary function of the bronze vessels that they were important
sites of commLllliClrion Xlhen used ro offer wine and food to rhe ancestors the
bronzes mediated between the living and the unseen spirits In terms of Alfred
Cdls work the vessels were agcnts acting upon tO separatcd consdruencics and
thndw putting them in cOl11mullication with one another lhe poems of rhe Sb
i (Book SOllgl) providc thc most accessihle evidence that the scem of
food and wine held in thc n~ssels a onc Illcans to arrract ancestral spirits that is
m communicate with thelllCi Another f(lllll ofconract was established through the
words cast in the brollzcs Long inscriptions primarilY in or on early Zhou bronzes
wcn addresscd ro the anccstors and to furun descendcnts BricL earlier inscriptions
that recorded clan and regional affiliations also lXpressed the position of rhe sers of
vcssels wirhin a network of ancestors lI1d dcsccndalHs
Jhc bronzes buricd irh fu Han ( rhe consort of rhe Shang King Vu Dillg
(ca 120() BeE) pnlide a good cxample of a Sl( of es~e1s en 11llshed hy their
inscriprions in a complL socilry I he imcriprions include hI Haos name in life
alld her ritual naille after dearh nalllcs of orher Illcmhers of her lineagc nalllcs
of officials associarLli wirh the Slung culr ritual and names of oflici1ls associnLli
with regiolls olltsiJe Allang Such records signalled Fu Haos positioll lI1d
lhar of lin widn tlmik in both soci~tl and ritual rcbtiomhips Alongside or ill
place of rhL i nscri priol1s signa II ing thcsc rei ationsh ips thc vessels thu11Sclves~rhei r
shllXs their sizes and rhcir decoration-arc likely to have been intcgral parrs of
the l11essagc also
Visual displays of the vessels reStlllg UpOI1 an alrar and in movement during
highk choreographed sequences of 1eriollS In rituals would have attracted
attention and cOI1evlll tU Haos staws to the [hing and the dead It is rathn
han1I however imply [(l view all eXlcptionlll hnclv made and~lers as redolcm
of stalllS 1I1d power A l1lorc nuanccd approach is llcclkd to reflect the numcrous
ingenious I11ClllS Iw which people construct thcir ellironll1enrs ro rcalize in highlv
specihc was their idemiries and roles rliari [0 ochers in their societies A growing
theoretical approach thL stud of materiality has sought to give emphasis to rhe
material disrinLthcness of differenr cultures and their specihc practices In rhis
disc()m~e the phsic~ll esistenu of a ork of lrr or 111 arrd1Ct is recognized 1S
an activc componenr in thc cOllstruction and rransmission of rhe culwral lire of
a group of people who emplO rhese artefaCts in their social and religious lives
Such arguments h~1e been put forward by Daniel Miller L)nn Meskell and Tim
Ihm I who used the term 11lltcrialit to embrace the physical and cognlflvc
[
B
re
he
pI
fo
wi
wi
oil
be
th
bo
the
inl
1h
we
ide
bn
Cal
in
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
analogical
included
the (WO Ii
lIes for the
the same
em of the
ions of the
of bronze
these rules
below J()
j in Figure
BeE Illl
[ages I hl
h the pans
he bees of
that of the
lOtifs with
on or birdshy
difFerlnce
lIar spirals
Tceivnl
similar [()
belongs to
the larlilr
plain band
1 percliYed
loymllH of
an inrlrlst
a rderence
Hive mode
)fl known
fly are the
die to late
f repetitive
rury BeE
REVIVIlG A~CIE~T OR~lEgtT A[) THE IRESFCE Of THE PAST
onwards interlace and inla) provided the characteristics of rhe last phase of Zhou
bronze decor Bur despite these quire major changes in parts of the ornamenraJ
system vessels continued [0 be cast in piece molds and used in sets lhus the
ways in which the ornament was organized and deployed across seveul vessels Llsld
togedler followed rhe underlying rules typical of much earlier periods
I have chosen to emphasize the undlrl)ing ortlament sslcm in ordlr to makl
clear the framework of design within which revivals could be difFlrcnriated from
vessels in a more conremporarv mode tor only if that difFerentiation was possible
could allusions and associations be linked with the difFenm pilcls We see here a
powerful example of Ddellzes emphasis on difference and ITpetition1 i It is indeld
possible to argue that variations in ornamlnt within a given )stem bcilitatld a
series of signals in slmiotic terms Ornal1llllt wa a very powerfttl instrtll11lllt
by which information could be exchanged bltwlcn n1ll11bns of elite bmilies In
previolls writings two rarhlr ditterent approaches have been taken on the one
hand ornaJ11lnt has been regarded as a mann of lt1esti1ltic etteu on till othn it has
been treated having some sort of iconic or iconographic meaning
Wherl ornament has IWln valued f(lr its aesthetic qualitils the word stvle
is frllJulnrly lkplmlJ 1 1 h~lT so br avoided this tlrln bur it can lX lIsed to
distinguish several c1oscl rcluld versions of an ornamental tradition over a limited
period of titnt Ihm the Bo Ju Ii (Figurl 1) can be described as carrying ornament
in an llriy Zhou styk by which I I11lan that it is a Zhou-pniod varial][ of the
ue Shang phsl of the ornaI11lnt sstem Jhl Mai Ii (Figure ) can bl lkscribed
as a Zhou-stylc rnival of rhe early Shang stagls of the systcm But a discussion
of ornament as stvle llonl docs not enable LIS to rlad the pmsible associations
thaI thlsl bronzes cOIleVld when emplmed in tillir original COl1tlxts for has an
iconographic approach proved sLlccessftd ill lllvcloping such a projlct Attllllpts
to identif) particular Illotif~ as carrying splcihc relerellcls to crearures or deitils
described olltside the realm of bronzl design haT nor provld fiuitful and not
only blGlllSe there arl no satisElctory altlrnative SOllfClS from which to dcriw
evidence of such deities I he principal probkm is tll~lf an iconographic approach
overlooks thl value of thl ari~l[iollS of a single motif as pan of a system of design
to carry associations I 1hus some motifs ll1av have had a meaning in till sensl of
referring to particular UTltltllrlS living and imaginary But to tah this point of
view does nothing to explain thl very largl IlllJllblr of variations of dragollS or
frontal EKes known as tlotil To advance this aspect of the discussion I will now
consider some of the ways in which ritual bronzes might have convlyld meanings
or rather associuions
r RFIFT1C THE PAST
Materiality and Meaning Ir is evident from the primary function of the bronze vessels that they were important
sites of commLllliClrion Xlhen used ro offer wine and food to rhe ancestors the
bronzes mediated between the living and the unseen spirits In terms of Alfred
Cdls work the vessels were agcnts acting upon tO separatcd consdruencics and
thndw putting them in cOl11mullication with one another lhe poems of rhe Sb
i (Book SOllgl) providc thc most accessihle evidence that the scem of
food and wine held in thc n~ssels a onc Illcans to arrract ancestral spirits that is
m communicate with thelllCi Another f(lllll ofconract was established through the
words cast in the brollzcs Long inscriptions primarilY in or on early Zhou bronzes
wcn addresscd ro the anccstors and to furun descendcnts BricL earlier inscriptions
that recorded clan and regional affiliations also lXpressed the position of rhe sers of
vcssels wirhin a network of ancestors lI1d dcsccndalHs
Jhc bronzes buricd irh fu Han ( rhe consort of rhe Shang King Vu Dillg
(ca 120() BeE) pnlide a good cxample of a Sl( of es~e1s en 11llshed hy their
inscriprions in a complL socilry I he imcriprions include hI Haos name in life
alld her ritual naille after dearh nalllcs of orher Illcmhers of her lineagc nalllcs
of officials associarLli wirh the Slung culr ritual and names of oflici1ls associnLli
with regiolls olltsiJe Allang Such records signalled Fu Haos positioll lI1d
lhar of lin widn tlmik in both soci~tl and ritual rcbtiomhips Alongside or ill
place of rhL i nscri priol1s signa II ing thcsc rei ationsh ips thc vessels thu11Sclves~rhei r
shllXs their sizes and rhcir decoration-arc likely to have been intcgral parrs of
the l11essagc also
Visual displays of the vessels reStlllg UpOI1 an alrar and in movement during
highk choreographed sequences of 1eriollS In rituals would have attracted
attention and cOI1evlll tU Haos staws to the [hing and the dead It is rathn
han1I however imply [(l view all eXlcptionlll hnclv made and~lers as redolcm
of stalllS 1I1d power A l1lorc nuanccd approach is llcclkd to reflect the numcrous
ingenious I11ClllS Iw which people construct thcir ellironll1enrs ro rcalize in highlv
specihc was their idemiries and roles rliari [0 ochers in their societies A growing
theoretical approach thL stud of materiality has sought to give emphasis to rhe
material disrinLthcness of differenr cultures and their specihc practices In rhis
disc()m~e the phsic~ll esistenu of a ork of lrr or 111 arrd1Ct is recognized 1S
an activc componenr in thc cOllstruction and rransmission of rhe culwral lire of
a group of people who emplO rhese artefaCts in their social and religious lives
Such arguments h~1e been put forward by Daniel Miller L)nn Meskell and Tim
Ihm I who used the term 11lltcrialit to embrace the physical and cognlflvc
[
B
re
he
pI
fo
wi
wi
oil
be
th
bo
the
inl
1h
we
ide
bn
Cal
in
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
r RFIFT1C THE PAST
Materiality and Meaning Ir is evident from the primary function of the bronze vessels that they were important
sites of commLllliClrion Xlhen used ro offer wine and food to rhe ancestors the
bronzes mediated between the living and the unseen spirits In terms of Alfred
Cdls work the vessels were agcnts acting upon tO separatcd consdruencics and
thndw putting them in cOl11mullication with one another lhe poems of rhe Sb
i (Book SOllgl) providc thc most accessihle evidence that the scem of
food and wine held in thc n~ssels a onc Illcans to arrract ancestral spirits that is
m communicate with thelllCi Another f(lllll ofconract was established through the
words cast in the brollzcs Long inscriptions primarilY in or on early Zhou bronzes
wcn addresscd ro the anccstors and to furun descendcnts BricL earlier inscriptions
that recorded clan and regional affiliations also lXpressed the position of rhe sers of
vcssels wirhin a network of ancestors lI1d dcsccndalHs
Jhc bronzes buricd irh fu Han ( rhe consort of rhe Shang King Vu Dillg
(ca 120() BeE) pnlide a good cxample of a Sl( of es~e1s en 11llshed hy their
inscriprions in a complL socilry I he imcriprions include hI Haos name in life
alld her ritual naille after dearh nalllcs of orher Illcmhers of her lineagc nalllcs
of officials associarLli wirh the Slung culr ritual and names of oflici1ls associnLli
with regiolls olltsiJe Allang Such records signalled Fu Haos positioll lI1d
lhar of lin widn tlmik in both soci~tl and ritual rcbtiomhips Alongside or ill
place of rhL i nscri priol1s signa II ing thcsc rei ationsh ips thc vessels thu11Sclves~rhei r
shllXs their sizes and rhcir decoration-arc likely to have been intcgral parrs of
the l11essagc also
Visual displays of the vessels reStlllg UpOI1 an alrar and in movement during
highk choreographed sequences of 1eriollS In rituals would have attracted
attention and cOI1evlll tU Haos staws to the [hing and the dead It is rathn
han1I however imply [(l view all eXlcptionlll hnclv made and~lers as redolcm
of stalllS 1I1d power A l1lorc nuanccd approach is llcclkd to reflect the numcrous
ingenious I11ClllS Iw which people construct thcir ellironll1enrs ro rcalize in highlv
specihc was their idemiries and roles rliari [0 ochers in their societies A growing
theoretical approach thL stud of materiality has sought to give emphasis to rhe
material disrinLthcness of differenr cultures and their specihc practices In rhis
disc()m~e the phsic~ll esistenu of a ork of lrr or 111 arrd1Ct is recognized 1S
an activc componenr in thc cOllstruction and rransmission of rhe culwral lire of
a group of people who emplO rhese artefaCts in their social and religious lives
Such arguments h~1e been put forward by Daniel Miller L)nn Meskell and Tim
Ihm I who used the term 11lltcrialit to embrace the physical and cognlflvc
[
B
re
he
pI
fo
wi
wi
oil
be
th
bo
the
inl
1h
we
ide
bn
Cal
in
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
eywere imporranc
the ancestors the
1 terms of Alfred
onstituencies and
poems of rhe
that rhe scent of
ral spirirs that is
ished rhrough the
rly ZhOli bronzes
arlier inscriptions
rion of the sets of
g King Wu Ding
nmcshed their
-laos name in life
r lineage names
[fidals associated
aos position and
Alongside or in
hemsclvcs-thei I
integral pans of
10Vemellt during
I have atrraued
lead it is rather
as rcdolell t
~ct the Ilumerous
) realize in highly
ieries A growing
emphasis to the
Iractices In th is
is recognized as
Ie cultural life of
ld religious lives
Meskcll and Tim
al and cognitive
REV I V I I C AI C I E ~TOR ~ 1 E~ r A~ D T H F PRE S E ~CEO F T H F PAS T
engagement of all humans with objects Dam quotes the work of Marcel Mallss in
his discllssion
possess a personalit and the personalities are in some way
the permanent chings of the clan Titles talismans copper objects
and the spirits the chiefs are both homollnllS and synonyms of
the same nature and performing the same functionC
Dam goes on therefore to argue [hat
Objects that are given create obligariol1s of reciprocity as well as
symbolizing social stams I his strand of social anthropology has
laid considerable emphasis on the capacin of objects to sustain
social relationships and manage a cultural order(
BUilding on this approach historians of material culture and of anthropology
recognize the roles that acmal arteElCtS as opposed to texts and speech may have
had in wcL1 ideological and cultural construction md reproduction In mher
words the objects themselves arc lCtors as important as individuals in the structures
processes and bel id of a socicty
In the Clse of ( ritual bronzes pllsical aspects of materiality rook rhe
form of direct engageIHent with containers stich as thegu (11Cltllldjilc for pouring
wine or with Villi or glli fl)r presenting meat and grains [lhysical movemellts
with bronzes in the hand or on altars were actions that not only ofFered f()od but
offered much more namel a physical reference to a continuity of rdationships
betveen the living and the dead I he bronzes therefore were active participants in
the construction of the lives of the Shang and Zhou dites creating essential social
bonds among the living
Bronze also produced in the sense of making visible and keeping before
the people involved the ideology of the time that asserted and perpetuated the
influence of the ancestors among rhe spirit world and within the living society
The durability of the bronzc~ and their Jeplovment over long periods of time
were features that ellSured rhe reproduction over successive generations of these
ideological conscructions References to the present a nd the past in the choice of
bronze ornament were among the ways in which the materiality of the bronzes
could be nuanced to underline reciprocal relationships between specific individuals
in a social group ihese details also made present the past and by implication
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
REIETIC THE PAST
carried it into the future also for if the past could in this way be brought into the
presel1t it could of course survive into the futureshy
We should not expect that messages expressed Lw the visual qualities of the
vessels to be of a kind that could be readily expressed in wotds Instead we are
confronted hy a difterent form of comnHlI1icHion and one that may have been
more suitable for the presentation of EU11ik position status and wealth than
words For power and status are not easily expressed verbally A particular rank
may be conferred on an individual in spllken words and in a document (such as a
bronze inscription) but if that status is to he widely recognized and sustained over
time some sort of visual display is probably needed Miliwry ranks or honorary
university degrees are validated h cerrihGltes but they are proclaimed by unitltmlls
or gowns and hoods In many societies expression in material terms prevailsshy
we too wdav make material choices in tvpes of car or tllrfl1S of dress to express
power and stams
We deploy arrdlCts metaphorically also A gold wedding ring with its co11tinuous
flmll in a ll1aterial that docs nor tarnish is 1 metaphor tl) the continuity and
endurance of marriage i ring on a finger also binds and reminds us of the bonds
of marriage I he material f(1rI11S that these claims take arc essential components of
a society embodying its values and its lspirations ) i society that values cars with
gtuggestiolls of speed related to fnruristic development puts weight Oil very different
aspects of value from one in which self-esteem WlS materialized in bronzes tl)
ofterings to past g~middotnerations
III ancient China power and stalus were necessarily reb ted to the unseen society
of the ancestors who were thought to be responsible tl)r ellSuring the success and
health of their descendants therdlJre at this date mllerial expressions of claims
flJr authority and rank would inevitablv have appeared in the lrreE1cts that fixl1Ied
components of rituals whereby comlllllnicltion with and rderences to the ancestors
were realized Vell hdllre tbe Shang period the Neolithic peoples of north China
seem to have emphasized nourishment of [he deltld as seen in their preparation of
exceptional ceramics For burial in tombs Banqueting rituals in which sumptuous
and very costlv bronze versions of cefltlmics were deployed mav have been one
outcome of this earlier practice
It is clear from inscriptions especially in early Vestern Zhou vessels that
many pieces were made at the behest of certain powerful members of tbe elite
t~)r offerings to specitic ancestors [he design of these individual bronzes may also
have been recognized by those in the inner circles of high-ranking families as being
linked with both patrons and forehears A whole set deployed in a banquet was in
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
~
1t into the
ies of the
ad we are
have been
alth than
ular rank
(such as a
lined over
honorary
uniforms
prevails-
to express
JIHinuous
nuity Jnd
the bonds
)onenrs of
cars with
Vdifterenr
lOmes fix
en societv
l(CeSS and
of claims
at tormed
ancestors
nh China
aration of
Jmptuous
been one
sseis that
f the elite
may also
5 as being
[ctwas ill
REVIVI0G A0 IE0T OR-AlE-T --D THE IRESE-CE OF THE PAST
this contexL a multivalent material expression of numerous relationships between
generations The carried by the essel set were also metaphorical in tht
the vessels carried the implication that the bonds between generations were as
sustaining as were the offerings of food
The Role ofArchaic Design on Vessels in
Shang and Zhou Dynasty Sets High ranking members of the elite under the Shang and the early Zhou owned
anywhere from 20 to 4) vessels that might be used together ro offer food and wine
to the dead relatives of the ElIllilv Ihese numbers are based on excavated vessel
groups from tombs RitUal bronzes were not made as burial goods hut were perhaps
interred so that their owners could continue to off(r banquets ro their ancestors
when they joined them in the afterlit( families mlt1 at any olle time han oWlled
even larger assemblages which tlwv displayed on altars bur did not hury
Three groups of Shang bronzes can be studied as chaLlcteristic examples One
assemblage of almost 200 vessels was t(lUnd in the tomb of fu Han A second
group has come from Tomb M 1 (lO at Cuojiazhuang village I~dT at Xiaotun
tg ncar Anvang and the other from I()llb M)4 in Anvang city Ihen were
45 vessels and bells ill 111 (lO and 4) in 1i4 All these display an exceptionally
high quality of bronze casting that can be associHed with royal patronage Illese
spectacular objects impress viewers roday just as they surelv impressed those who
saw them during the era when they were made they have heen the subject of
coulHless studies foclising 011 their fUllctiollS and the inscriptions rhey bear Bur
little attention has been cenrered on tbe variation of ornament within sets and
although individual vessels and categories h]Ve been examined in detail the visual
impact of rhe set as an ensemble of objects has been discussed only rarely Ihose
attending the rituals would have recognized links between vessels and persons
Certain bronzes were commissioned f(H a panicular ancestor while another might
have been owned b a relative Shape and dcor would thus havc been integrated
with familv relationships past and present Indeed I suggest that bronzes could
be seen as proxies tor people Parallels between vessels and ElIl1ily structures may
have been created by resemblances 1Ild differences between bronzes 1 he ri tllals
were enactments of bmily relationships embodied in or mediated bronzes with
distinctive visual characters
sets menrioned here contain pieces that show archaism or
jfmggu Among these is a highly unusual liom [()ll1b M 160 at Cuojiazhuang
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
R F J F T J C T H F P S T REVI
I i~llrl )1 I iddnl ((il~ illl 1lllldiL fit itll
lid 1ll111 Iwlg 1i1 121111 1( T hshy
l ltlLI froll1 lomh 11 ()() II (lIojilIhll1I1g
l tldl It 11 1I1g I knIIl I rolll h()llgshy
guo hlhlli )L1L lUll kJ()gll llljiulI()
1l )l)i IIi]dil~ IIXlf (f()tf~-lflllig IIII((il
IIlf1i~ IltJ)lllldll-II() JIIdU AtlOfujtr((
)d(~d( Irk-iiiI1 Lll tI lhuh1l1]ll 1()lraquo))
11 X I fig (L~
village Xiaotun at Anvang City that clearh- illmtrates an attempt on the parr of
rhe casrer ro evoke earlier bronze l1lodes of design I he vessel is a recrangular
flllgdillg Jflri (hgure 3) bur insread of being strongk angular like another late
Shang vessel in this romb (Figure 4) it i~ rounded and carries an imitation rope
handk Ihese fearures seem deliberate rekrences to a ceramic or basket form Ihe
most srriking uchaic rcrerence is the decoration in two bands one on the lid and
one on the body which reproduces rhe narrow bands of (-shaped scrolls seen on
early Shang hrol1les from Zhengzhou 11 Panlongcheng ~niur)N and the earlv
tombs at Anyang H Hut the dillg is dcrlnirelv nor a relic from an earlier era It
shares the same inscription seen on many of the other bronzls in rhe romb and was
presumahly made within a similar timl framl of not more than sa )0 years II In
addition the only orher pieces in comparahk forms are of the late Shang and early
Western ZhOll periods I
Ihe fl11gdillg (hgure 3) is all thl morl ITmarkable because it comes from a
tomb with a large number of vessels ofa Try difterenr aesthetic characreL Yet again
difterlncl is an imporrant and strongh- marked kature offhe set Contrasting with
thl dillg are a pair of Zl111~ and a pair ofji~1 (hgures ) and 6) All these
four haw highly angular square cross-secrions emphasized hy vertical flanges and
hgure 3b
Figure 40
period ca
at GlIojiazh
Zhongguo
Anyang Yin
nian-1992
chllbanshe
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
I
tl ft lith
OOII(T
llO jiltlJh~I Il~
lhong
njiuu)
he part of
crangular
lother late
Irion rope
form ]he
~e lid and
Is seell Oil
the early
ier era Ir
b and was
vears I JIl
and eark
es from a
Yet again
iring wirh
All these
Inges and
REVIVINC ANUENT ORNAIENT ND THE PIUSFNCF OE THF PST
1II l( (11L ~hHlg
12i1I1IHl Inn Irnlll lomh 11(1l
H CU)iiJlwlt1IlS YIj~L Jl n~1I1g tLl1J1L roll]
lholl~gto lhui kltlL ~11ll klOgU lnjitt-ll0 ql)~
A1j)dll~ iiXl (ifojid~Ifilg )IIIl5rj (NL
Jitlll~ Ii)) Ni k(tltrljlt
Chuhlllhl ll)l)~) f) K2 hf-
rl I
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
R F I F T I C THE I AS T
]igllrL -) rulglIJ Ill I-I) L-Ill
lung IwioL I IcOO B(I
]lIlll1 frOIll IOlllh t I ()() It
(1I0Ii1I111LlIlf- ) illll ll Il~ 1Ilg
I klLlil hOIll IIOllggllo hLllLli kLllshy
L 11111 klOf-U llljillllO 1~JdJl~ IYf(
(fI(d_-llidl~ Silt JI~dlJ ilJfI_~IJl~ 9Sl
IlllIlJ-1)()lIIJi l-i05fljtlf(( JtI()~tI()
(Plijillg lll II lllllhclllJl I ql)H)
p~(l lig ()-I
covered ilh inlricale Irolil wirh dismllllhered fearures BOlh lhese fearures and
rhe hackground arc tliled wirh minure angular scrolls Ihese angular forms and
rhe denselv Glsr surrlces show up rhe rounded and relarivelv plain riillg already
mell[ioned Such angular vessels srand our as rhe mosr uf1-ro-dare and visuallv
osrentalious thal the lomb owner could have commissioned in his day Moreover
rhe 21111 urry on rheir ilOulders small lllilllal heads wirh spiked horns a fearure
seen on relllarkabh few vessels and all or lhem with anglliar protlles or elaborare
decorarion or borh I
I hese square Tssels wirh deLliled designs were clearly popular wilh rhe elire and
arc found in orher well-equipped wmbs including Tomb M )4 ar Anyang Even
more relling is rhe compnison we un make wirh the wmb of hI Hao which also
cOll[ained square vessels in rhese specitlc clregoriesjitl and 21111 Surprisingly while
rhe vessels in Tomb 116() arc disrincdy smaller rhan rhose belonging ro hi Hao
rhe vessels in 114 compere vel well wirh rhose of rhe ROy~11 Consorr
Ihe vessels are nor simply high-qualirv conrainers for a given rimal bur markers
of affiliarion of belonging ro a parricular parr of rhe elire ar a parricular momell[ in
rime Moreover rhe sharing of vessel rypes wirh rhe royal household was probably
(11
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
II III lI11
1201l1IU
lilmh ll(fl ll
imu nlI1~
lOl1g~lO hlj111 klushy
IltbllO li~Jdjg ) JiIX
tlllttdi jlf ~fll( j (j8J
1Jt()1tfo
ca 111 fe 111 d
f(gtrI11S and
fing alreld~
IIld viualiv
Moreover
IS a fcatlln
elireand
lyang Evell
which also
ingly while
III Fu lbo
but markers
moment in
as probably
REVI(( AZClET ORIF A[) THE PRESECE OF THf- IST
Fiturc 6 1I~if III j lll hllg
plflolLcl 120() 1)(1middot rl)JlLl1 frnlll 1()lllh
~v11()O H (tlt)jlllmJn~ YIL ell 11 tl~
Hell]ll from lhonggun hlhll kClIlYdlll
kaogu yanjitLlO l~)flJlg ) lJX (fIr)Jd_~llfttil
SlltlJlgdll Jllttlllg j()8llJillll--J(() IJitlli idshy
()gfli~jll Jrlrtto ()vijillg lln Ll lIHlhUlll
1()n)I()~ I
also recognizable (0 hing iewLTs and thought to be lvidenr ro the
ancestral spirits Xe do not know how the~l a~pirations [0 own parricuLlI versions
of these categories of vl~sds Glme ro be shared by members this social group but
shared they were Sinn these prcsrigiou-Iooking were so widdy dcplo(d
musr presnmablv have been desired Xle can lte thcm as signds of solidarity
within a particular social grolll) and as cidencc of authority within the society or (he time But wc cannot diorll the lssels as signs from the essels as material
anCLlCts-the squareness and dense decoration were strollg material qualities Ihe
medium was the message And the roundedflllgdillg(Hgure 5) gained and gains its
special position hy being 1 counterpoint IO such angular pieces
Another aspect of iual displa C0l111110n to all three Shang rombs was the
presentation of matched groups ofgll and jllC to J1160 has sets of 10 while Ivl )4
has sets of9 Ihe numbers in fu Haos rornb mre enormous roval consort was
buried with 13 gll many of which were imcribed with names other thll1 her own
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
R F I l 1 I C T H F P S T
J o 101
1 11(1 I 1(1 l1~ I
~ IIW I~I
h~lIn nrJin~ of ~ t rnLln~uLn 5Jf H l 501 111 SjiH1~ pniod CL 1200 IH T [gt1-1 Jlcd 1OI~ Tomh
11()O (lljLlIhllll1g YinX1L ell hang ~l-UI1 from hOIl~~lI(l -h hlli k-~-liU) kll)gU Ylnjilhllo middotjJJytlfig
11XII
l()l)~) 1(HL
r
L
Figt
Gue
Guo
102
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
REV I V IJ C AJ C IE TOR A 1 F T n Tl1- P R F S E C F () F H F P S T
) ~
i I
I iN I~
FipHl l h) in~gt or 11 l (1 ILl N (Ill hIJ1l pniod --I l200 B( T Fll ilnJ from l~Hl1h 11 ()O ~1
(uojilIhutr- Ynxll n nmiddot~lI1g t LnlIl From Ihtll~1Uil h-Il~i kllh~lll1 kltl~ll 111 j U1I0 -ljj)d~ )Xl~
lJigtiI1i f~lJt(~ I Ni_o) Itjdj~ I ~))_ IJjff titf fitff Jrfog(I Hii JiI1~ l11U ( hlhI1~ItImiddot I t)~)x) 1
tU bIJlg
he
III
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
REI E T I C T H F I A S T
I he standard number in a set ofgu seems to have been between 9 and 12 Ihey were
matched with equal numbers of 111e occupant ofTomb 1 1GO again stands our
by owning not the llsual circular-section gil but ones of square section (Figure
and matching these with an unusual type the (figure H) rather
than the srandard jilt So while we have here another demonsrration of affiliation
there is a subtle claim ro difFerence by means of a superior version of standard
practice I he use of massed groups of these vessel categories was presllmably a form
of display slightly different from that of the impressive and heavier Zilil and In
viewing these differences toda we can sec divergences that must have been equll1y
visibk in the Shang period
Vith respect ro rhe Shang 1 question rarclv considered is how did the nobility
cOl11e [() own vessels so similar one to anorhcr and to rhose of rhe Roval Household
Ie i~ po~siblc rhar such bronzes were made under rhe direction of till coure and
were donated to the high-ranking If (here wa only one f(llll1dry casting bronzes
this mighr explain sLlch similarities Flowever it is likely thar there were several
foundries and rhat rhe sharing of yes sci shapes and d~cor rhe mechanisms rhrough
which a disrinctive period snlc came into being is a mauer ylt to be llndersrood
In addirion the different inscriptions on bronzes indicaring ownership by different
hmilies and individuals in those Elt11ilies SlIggesr rhat there was some system by
which Elmilie could individually commission bronzes Ihe square sectioned gil
andjiilo (hgures 7 and H) and rhe n~ unusual liddedFliIgdillg in M 160 (hgure 3)
also indicHe rhat rH11ilics could exert some choice in vessels
If st rongly-shaped and highl decorated sub-groups presen ted the sratus of rheir
owners and indicate relarionships among rhe elire how rhen arc we to read rhe
attempt at a retrospective look Vhat did the instances of archaism imroduced
carl ier really mean We should explore this question b~l()oking at Furrher examples
In addition to theJlIIgdillg in Tomb 1160 rhe t() orher tombs under discussion
also conlained bronzes rhat rcier 10 rhe p~LSt Ihe piece in lomb Mi4 is a simple
sreamer a )111 (hgure 9al with a band (hgure 9b) recre~lting the kind of
decorarion seen on bronzes From Zhengzholl and Panlongcheng similar in gLf1cral
(erms to the ornament of the lidded cling in Tomb M 160 Bur the ltII is a much
more srandard in shape and Tsscls of this caregory frequently carry rarher
old-Lvhiol1Ld designslhe pm is therefore rarher like the Mai Ii (hgure 2) wirh
which rhis paper began- It is a srandard piece that presents irself as manitCsring
a past tradi tion whose main character is simpliciry evidem vvhen seen alongside
such complex pieces as the angular bronzes f)om tbe Shang [Ombs (Figure )) or the
extravagantly-decorated Ii inscribed litb rhe name Bo Ju (hgure 1)
RE
Figure la
ca 1200 I
Huayuanl
guo shehl
Anyang g HuayuanJ
Kllogu 201
Figure 9
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
hey were
ands out
1 (Figure
I) rarher
ffiliation
standard
Iya form
1d jifl In
n equally
nobility
msehold
ourt and
bronzes
re several
through
derstood
differenr
ystem hv
ioneJ gil
Figure 1)
lS of their
read the
ltroduced
examples
Iiscllssiol1
a simpk
kind of
in general
s a mllch
rry rarher
e 2) with
anifesting
alongside
or the
REVIVj~( ACIFT ORAlFT A][) THE PRE ENCE OF THE PAST
Figun ()l m I It -q (111 SIUll~ pniod
ca 1200 lllT [aclIated 1lt111111
HUl UIl1hUlI1~il J)lllt Frolli Ihollfshy
guo Ihhui kCtH tJ1l ktPgu YJ1iillw
An-ang g(lll1IUlhJUI Hnm nHl-2middothi
HllanJ~ll1htlJJlh 1middot1110 ShltlIlgdai IllU1I1g
Attll~ 200r I p I I Ii~ I
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
r i
REI E T I C THE P S T
---~
shy
Ii~lrl 1()L IhIill~tl( 1( III S- LIll
gtILlIl~ ]lLriod Ll 12()() IH 1 [llIlLLI Iom
Ill ((J1ll1) oj hi I LIO 1[ rIllllg I rom 11j)jlgshy
gllo [It-fIlIi klllllllll kOgll llljilllI() lll lXII (jillg(lJt-I (lkijillg LIlll LhuhlllhL
ll)K-1) lig 202
Fu Haos tomb contains two and probably more vessels that an more unusual
In their ornamental archaism Among the most striking is a pair of he Iii vessels
with large lobes (Figure lOa) Ihe lobes alone relate these he to very early he and
Ii vessels of the types seen at Zhengzhou and at Panlongcheng (Figure lOb) S and
the differ from the more common late Shang fCJrlllS which consisted of a rounded
body on post or pointed legs A rubular spout emerging from the top cover and
the two eyes around the opening in it also follov much earlier models In the
intervening period the Elee device on the cover or top of the he had disappeared)
In all three tombs bur especially Tomb M 160 ~ll1d the tomb of Fu Hao there are
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
(1LHtd from
I rom 11111110
iiU~ll(l LlL
vu chuhlthc
1USUltl I
iCsscis
If and
and
mded
T and
n the
red
e are
REV 1 11 C 1 CI E - TOR - - -1 E - T - - [) T H F P R L S r - C F () fmiddot Til P S T
Jitw I Dh 1)1 11Il~ of 1 il I It 5() U1L I ~ gtILlllt 11rio -1 1middot JU() ~ YHl IH T I I-JJ Lll (r(lln J (lln 12 l
P1Il1()Iltlhlllg ill IlulkL 110111 f lulhilllmiddotl llll h1O(i lll)llllO nmfJfiti-1middotug lt)(1) ))j JUdI IttJI (Iif
lJritlfilO (1)( Iil1~ tIl l ( llhJ 11 111 21 HilL 01 1 p ()s j i~ ll)
in addition numhers of s(ltllllbrd brollCS sillliLtr (() (he yflil (hgurc J) on which
thcrc is no space here [(l comlllent
If we em roday appreciatc thc compicx angular ~1I1d highlv decorated hronzes
as providing a dispby [hat cOllllllunicllcd status ~ll1d aHiliarion borh redolent of
powcr ve cm perhaps alo see thc pilcCS (of which therl are nUlllcrOllS
mhcr examples) as having paralicl purposes It SClms likclv that sOllle simplificd
vessel shapes with anrillul designs such as the ai Ii (Figurc 2) and thc)7 (Figure
9) werc cvidlncl that somc vcssel typcs were undcrstood 15 having an anciclH
history signallcd by their deliberately ancient decor I he contrasts with borh rhc
fully decorated piccls and the cXLcpriollal archaic olles indicHc a range of options
aV~libble as cxprlssion of ditlcrlnt l1UltlllllS within a singk scc In lxcrcising those
options thc lxnJOns and their advisors SClm [0 havc had somc interest in preserving
a sense of thc antique by referring to simplified Vlrsions of ancient designs
Ihe second category the clear ndvals of unusual r()rms namely the
jmgdillg from Tomb j11GO (Figure 5) and thc Il from ru Haos tomb (Figure
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
r ~
REI E T I ( T H f P S T R
lOa) look like deliberate concoctions They are rare indeed so rare that are no pI
exact parallels from other tombs These would appear (() be commissioned re
which may haC had an exotic appeal or may hae been thought to to a specific T
place or time p
Here we might draw ~ome llarallcls wirh earl jades Shang elite seem to
have possessed qui te a n Ulll bel of ancient pieces some of which they reworked and Clt
others which they copied from earlier exemplars Ihe owner ofI()mb M160 had S)
a Neolithic or at least pre-Shang jade axe embellished with 1 Illuch later Anang 01
type Itotic design I hi Hao owned sneral ancienr pieces and a number of small
coiled dragons based upon HonghIl -1[ II prototypes i1lhe unusual and perhaps ((
exotic came nor onl- from rhe Plst bur llso fiom other regiollS Ownership lnd I-
display of such jldes often worn 011 rhe bock brought the distant in time and n
place Iiterallv into the presenr Bronze types that recreated aspCts of the past or b
of the had similar dlccrs But instead of these characteristics accruing to b
bodik d they were incorporated in the ()fkril1g~ to ancestors and were p
thus protllimed in rhat specific COHeXL Both the bronzes Ind rhe were clear
indications of the reach of Shang innuence and power ami- as such were material d
prescJ1[lliom the kinds of amhorit that the Shang al~() by military and c
rimal mean~ If a l1iece from a distant region or disLlnt time a~ illcorporallll in a d
tomb it also indicated possLssion bOth literally and metaphorically n
I his kind ()fcornhill~ltioll of rd~Tellce to a past and to the up-ro-ebte continued
through thl Fari and liddle Western Zhou But with the ritual essel changes of rl
the late Middle and Lite Vestern Zhou a difllTent aPl1foach emerged I We haye 1
been aware for some rime riunks to finds at Tianma-Qucun III near a
Houma in Shanxi province that memhers of (he ZllOli nobility especially a
those in present-day Shanxi and H nan commissiolled reproductions of
bronzD Itl their tombs I hese were all the more ulnpicuollS on account c
of the in vessel shape and design changes that wCIe apects of a change in j
ritual [he reproductions orearlier bronze~ Well often small Ilon-funcrional picce~
Iheir pUlpoSe~ seem ro have been to represent the possessions of older generations I
that could nO[ ttlr ~Olle reason be included in the tombs
We have some nOtion of how such early pieces might have survived ttlr centuries
in the possession of a E1l11ik from hoards found in the ZhollYlIan tJt especially
the Zhuanghai I hoard which included bronze~ belonging to at least four
generations II From the board ie know that the bmil who owned it had at one
and the same time a working set of ritual e~sels and representatiyes of the bronzes
of their forefathers Diplayed on the alrar these earlier bronzes would have made
6H
F
1
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
they are no
ned pieces
0 a specific
ite seem (Q
vorked md
M160 had
ter Anyang
er of small
nd perhaps
ership and
I riml and
thl past or
ccruing to
sand wcre
were clear
re material
lilitar) and
orated ina
continucd
changes of
We have
III near
especially
uctiolls of
III aCCOUllt
change in
nal pieces
cilera tiolls
r cenruries
especially
least four
ad at onc
1e brollzes
lave made
REV [V I ~ C - C I E lOR - 1 T - ) 111 E PRE S F C F () T H F 1 SJ
physically presenr references (Q the earlier generations of the Cunily and would have
reminded later ones of their achievements Presumabh- the substitutes found at
Tianma-Qucllll fulfilled some of the same functions 111at is there to a
past by means of modcls of earlier made a lincage present
The materiality of all the exam pies descrihed so tu depended on chronologically
calibrated differences in shape and decoration Ihese in turn were the outcollle of the
systematization of ornamenr with a reliance on replication that is so characteristic
such systems Reviewing the systems of ornamenr deployed in the Shang and
Western Zhou we recognize thnc distinct flcriods In the first phase of the Slung
(ca 1500- uno BeE) nproduerions of earlier pieces were lot comlllon In the
High Anyang period and Earlv and Middle Westlrn Zholl UOO-l)iO BeE)
revivals stand our crearing among other things a groUfl of rather plain restrained
bronzes wirh long pedigrees Alongside these 1110re unllsual versions of earlier
bronzes displayed in distil1crivc material f())IllS panicubr as peers of the status and
powers Shang ltlnd Zhou clites to the living and the dead
Major changes in the larl Vestern Zhou WiO BeE) encouraged a quite
different approach Small nOll-Functional reproduuions of the earlill- hronze
almost certainly represclHed the status of the owner in terms of his
descent through several gencrations HLTC the rdercnces ro carlin generarions wcrc
more specii1c than at earlier times
Ihe rimal vlssels had taken on a major roll because they wcre incorporated in
the rimals th~lt werl intcnded to communicate hetween the living and the dead
Ihis coml11unication 5 made explicir in inscriptiom in the bronzes Bur an
addirionallxpressivl aspect lay in the srahility and variarion of ritual ves~cI t(lIIllS
and dclaquo)ration Singh- scvcrally and ill sets rhe hronzes presentcd the sr~mLS ll1d
power of the living ~lI1d the dead l10t simpl in terms of wealth hut in terms
of the flll1dall1lnLlI roles of E1l11ilv relationships Ar times hronzes Wilh antiquc
mgII ornamellt seem to havc heen proxies for plnicuiar individulk at others
they ofFered associarions with an 11l1specii1ld past era at yet others the were exotic
possessions with llronoullccd rdennces to idcntifiable 111cie1[ objects And at all
times bronzes were metaphors presented in plwsical Form f()r rhe cOIHil1uity of
human relationships that would sLlstain the [resent and Future
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
IZ 1[11( THL ISI
Epilogue 111e examples described so t~lr are TIT ditrerenr from the much better known
bronzes rediscovered and reproduced In later periods most especially during the
Song under the Emperor Huilong (r 1101-112)) and the Qing under
rhe Qianlong Emperor (r 1 )6-1 7 9) lh changes in ri III I I berween the
farring Stltes and 11an had grelfly redmed ifn()[ almost eliminated the kinds
of rirual vessel scrs with whi-h wc have been con((rIled Xfhen lttncienr ycsscLs were
rcdisulVernl 1ll1Il centuries later the were regarded as unusull or special and
WCle oftcn treated as Ol11cns
Mosr imporramly the ornalllelHd sstelll and the essel sets to which it had
been bound had tllkn our of usc Ihe wv ill which the mmifs could he combined
and the l11ethods II which the wen applied to were little recognized
despite a growing inrerest in and understanding of brones which were collecred
and GllaloguLd A Aexible and vcrsniic instrument for 1l1lI1ipulating simibrity and
dilkrellce in this medium h~ld be-n lost In miler words the materiality of the
earlier Hssci sers was not undersrood during rhe Song the Ming (] jClH-] and
the Qinf Imr was irs range ofsignincll1ces Later empnor werc l-ed with a snics
ofconraincrs whose functions thl ullticrs[(lod illlpertCcclv and whose original role
in anLiem societies they had no interest in reLonstrucring d
fL CIn rherefore mlke 1 ciear disri ncriOIl between rhe carl revivals of the
Shang and the ZlwlI and those ofLtter Lcntmies Xhell hrollles were cOlllmissioned
hy lmperor HuilOng or rhe Qianlollg Emperor It) usc in the ancestral s~ILTihces
the no longer expressed in their forms and decoration rill close links betweell
high~rallking EUl1ilils or between rhe gennatioJ1 within those Ellllilies Instead
rhey provided a hUIll or so their owners seem to luve supposed with rhe righreous
rule of thc anciellt hisrorktl pniods III rhis role rhl Sl(S pnscribed hy fluilong
lIlel rlll Qianlong Emplrur 1)lloing Zhou Illudes were instrulllcnts nflegirilllln
lddressed to a living ludiellcc of course but also ro rhe lncesrors
Ihe vcry bet of transf(Jrlllillg rhe csels clllplo~ll1 in riniai gave a 1l1ltcrial
expression ro a tran~f(Hnuri()1l of an insrifllrion thn rhlse lllonarchs intended to
achicvc I he trlIlSf(JrIlllrin [1Oer of ornament that we nored It thc beginning has
a IllcrapllOrical POWcl also Rcial of past orn~llllell(S and indccd of forms has
hcn in the West ]S well as rhe Fasr as both Ill instrlllllent of and as Illeuphor
t)j a spiritll~ll revival or persons and insritU[iuns
Excursions into rhe past in recreation of bronze vessels and in rhe reproducrion
of calligraphic typcs and sryles haw survind many of the turmoils of the twentieth
Cll1tury It is still possible to deploy rhe shapes ~lIld designs of ancient bronzes in
R
F
shy
l
t
j
I
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
ng the
under
en the
kinds
Is were
al and
it had
lbined
nized
Ileered
tyand
of the
1) and
al role
of the
ionnl
iflces
tween
lstead
HeOllS
lIzong
imacy
aterial
led to
15 has
aphor
Iction
I1tieth
zes in
REVIVING ANCIENT ORNET ND TIIF PRISlNCE OF THIe PASI
Figure 11 Iii PLlnd oUI ilic ~h I IHtJILUill(
HOfl] 011 (h1I)~~H1 Cltk ljjlllg
~
unexpecred vivid wa~ 1S we LlIl see in the large (Hgure 1 I) placed outside
the international Ilorel in Beijing vhere the charauer fill decorate~ al~o the
towels in guest room~ I he material is bewitching I hme who can recnne the past
in this mHerial f()J11 seem lhlc by extlllsion to claim ~l cOl1(rol of the past and its
values Ihen is something almost magicli in this manipulnion Ihe passer-hy on
a central thorollghbrl through Beijing recognises the disproportionate size of the
jll( but this exaggeration cvcn serves to eml1hlSise the virtues and the values of thc
past and to link them (() a hotel built in the tWlntiLth Lemur
Endnotes
I For [he 11IU lIljillO I II1Ii( Xi AiI
U lt)-1- )-- 1cll1 jon hllln )-) lnd 1)-~
n rill (C[lrIl fitoll lVIllC[cl (l~ rile lt[1[c olYan [[ lilllihcj (lcijing (lll11 cilUhlhhc l)ll
For i[mitcr rlfTcl1ll [() hrollc wirh inscriprioll IUllling Bolu Ill 1lt111 I(i1 Rillr Jimllr
FOIIIhl Ihlli f )rI(a (OC((WIIr (ahing[(J11 1)( Jl1d (lil1hridg b I he Arthur 1 Sllklcr
Foul1llariol1 1ll1 rhe nhur 1 ltlkkr 1 u 11 1 L)l)()) 01 2 ppA()()~4()l
2 1)1 earlier 1(11111 of onl Ilhl[]eed with quii ee l ici i1iUStrI(d i) hl rqil oil rhe c[[j()l
l( Pltlnlonglhn~ in Huhc lj)WU lugll yiJ) jtUUO
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
REIETIC THE PAST
p 42~ hgure 313 I illusuarc and disellss similar ii of borh and Vcsrern Zhou dares in
310-311
3 Uwere and less so in the l11elin pltriod Ihe
type disclIsscd here period 11 Clll in all fwm Iltmb ACM 11 02
in the Vcsrern Scemr ofYillxu iU Ar1ang sCc Rawson Uhtcl 01 Hilllili 8JiJIIZII Figmc 111e
development desnibed is discllsed and illmtrated inlrda Licnen -111lt oftheTing ill the
IhnaI A kmatil of the Yin-hsli ]riod ill PubiilcllioIlCI dcl 111lt1110
fIII1JIfhtoriscws Iritlit tier LlIiITiliil Aolil Band 3 1 iVilsbilden ham Stciner Verbg 199)
pp I) Imiddot 10 ii imilH in profile mei irh decorarioll mmpnahle [() then of rhe vlai Ii dislllssed
in thl preserH paper IS excavated Iiom Tomb 1120 H the (~iangzhlllgdJ Cllllercry n
l(llghou IjI Hi ill shehui I ir1 (I at
(~ianlhangda at ](nfviIoui 1 Pl L~j-22( Figurc 1)93
Within a IIcll-exal11ined scries illl1h 1120 is dated I the lscaI1Im ro the Vestern Ziwu
I in
Ihe crcltllion and usc oithc csscls we lIobert 111011 (illil ililhe hlilg (ililiziioi
lPhiLlllclphia ofleIlI1S1kania Press 200C) pp 2WI-213 11 a gelleLd discussioll
)1 rcic rhe usc orscrs and the ariarions in Illbr hemeen rhse owned bl dle highe elitL and
Ihose owned Iw nohk when deploed in rittul in I 1)e ShI1g Bronze Design MLlning
ami Iurlemiddot in Roderick hirheld cd fe PmClII (If III (Iilltt Rilllt 8ro1lZeJ
ForllllLuion of (hinesc An 1)1)2) ppNi-N(
( III lonlrics in AnriquarilI1 Rciris I hL (aSl of I he Chine Brnlll (ill Vuillildl ntdi gtWtilli
Ri(dich QlIdncli) O 22 no I (Autumn 2001) pp 1-34)1 illusrrate a group o( lllinilnllle lSSlls
made in the Lue VestCril and cuI FaSlelll Ihou tlut recreate hroille of more Ihan lelllur earlier An
allernatie Ipproach is ot-E-red bl u Hung Iingli de li]un he shiiian Zhlllguo shiqi lili lllcishu
Jhong de gUltlllnianhllil qingxidng n ill IHr( [Ihe theon and prluice of the usc of 2-N I For other dp[(Mches [()
ICLTCuioll ~lt tI~o Li lin~ Jcjiglt
iU III t I he ways ill IIh ich Ihe lllciellt lukes tile ne I diSLllssiot1 of
ami the Hl of rcUclling rhe Hlcic-IHI (i-]ong hongllcn dlxue chuhanshe 2()O~L
In the oral preseillation of this plfcr at the onkrcne l[ Chicago I illustratcd rhe Weslcrn (llssieal
s te 111 IIhieh I describe brielh- ill Ornltllellt ltIs SISlcI1I Chinese Bird-and-]]()Icr Design 1
(101 14N June 200() PI lNO-jWraquo Ihe illlhitcLTurltll co 111 pO lIelHS columns
archillltIIes ltlnd so Oil (Im the [ltIns lnd the W]I in which buildings Irc s[[uumed
the rules ScC lohn SUl11l11erson 1111 Cid-id (London IlUllleS and Hudsoll
reiscd edition of II)NO) I]r Iegam illusrrations of LIit-FrclH LOl11hin)[ion 01 palT detClmined b)
Ihes rules I he of SehaS[llll Scrlio tre tiso Ien illuminaling in this respeLt IJfilitlJl S(riio
Oil An-iititIlIC 101 I books I-IV of iill dmlititt(fIIld iI ill SmiddotAllidllll STI
Hlm Vlughan Han and Peter I ]ick (Nell I lncn 11ll] London rlie Uniersity Press 1 l)l)(raquo)
For an OVerliell o( rhe dleCl orarciueologicli dislOVlries ill rhe ltest see lain Schapp Ih
Illstl Origin trans tn Kinne and (iililI1 Varndell (London British Museum
Press I )l)(l
iJurllde lIIri iI- mrlairll in (hi 11lt) ArT (Pril1cetol1 Iri ncltton Lnilltrsi ty
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
01 1
res in
the
1102
1h
11 rhe
Asim
)7))
ryat
[~I I
11S in
and
ll1in~
itU]
LAn
ishll
lS (0
iSid
fbc
Jlidc
Ison
d by
ledlO
rliu
eurn
REVIVI)lC -CJE)l OR~IE-T D THE PRESECE OF THE PAST
Press 2000) pp 2~-4e) 1mh1I LdderDc pr(1idcs l COll1pIcI11CHlr 1 of looking l( rill sntell
of bronze dcign
9 Shanghai bowugllan Y1I1jiulll lll xedkn r
example 01 this pra rice in [Onul1lcnt on and
Zh()u bronzesl (enlI chubmslle 1lK4)
10 In SbiJlg Rillltl Hroilzes iii hmiddot Arhlli ~I(tr (iJaiol J)( md (
Mass Arthur 1 Saddr foundation cIhingron l)C me rhe rrhur 1 Slckkr lumiddotulll Harnrd
Unilersill 1Wi) PI
or rhe OrlllI1lCIl[ on
[n rhis Ihglcl prolids In importlll[ lxrnion or 11 [ociu File Srlmiddotks (sC Lociu Ihe Broillc
Styb of rhe Anyang Pcriod 1300-1 O-H Blt ArfIe (hillc in (hil) or lli1lkil 101
BmllJe
Clring kchnolog ill nlienr (111111 (AJliblfi hldl ill (11 no 1 (-OO() PI )-))) presell[s an
llrelllrilL approach to rhl lchnilu hur rhi do nor rth-u the arguIllllt ahout the imple(
of rhe sccrion mold 1tIll on 1he
II Ioehr Bronz Sl -1lt of 1h
ollhe Ollllll1nt
Icriod Loehr choils or l hc ord tle rdicd his [rltlining
is ginl1 in kILT Shlpirns in hmrj 111( hioJu))) 111
iIS (Ncll York Corgc 1lr1I iIkr I ()()l Pl ~ 1- J 112)
1- In using the lLTlll Itl hronc O11lltl1lle11l nUl he usciuL
Ihe ltsci scl ILt clmdy lillkd ith ancest1al Herings els l11ureOlr 1 ere Ilcn inscrihell with
names of ners lnci thus h(Hh categorlcs and tljK or oJll111lnl would h1 hlcn readily associated
with bnil Illemhers
It For a d iss ugtsion or the
01 I PP 9--12i
14 Cillcs [)lellil
1J()4)
dllt tLlIlLHd hI ]nlll1l1011 rlondonlh lhloIlC Irc
I~ (omparc I()r cltl111jlc RoLlild J)lrpoundilclt discussion oiminule rriatiom in Ioths in ill 1II~lIdg(
u(I-ShifJli ndl SllH()(ll rram llh Irllord nld 1ihld (lrlcr lmiddotk ~(hl()rd and York
Berg 2001) hH glllTal JPprotllc~ to ltClllidliL ~llshy
lill)fJc )IJIHlruuilifi (] ondon and JC York
Culkn 11 lIwil
(bc IIIK 1)
1( Max Loehr hl heen one 1)( Ihe Illljor cXp011elllS or the 1lrl1l(ic chlrluer of bro11zc llld otiler
(hillcsl Olllt1l1clH sc his I h Ite of( hlllnll11t in (hincs rr 111 IfioidJi 111 Id
icrni11g lId ill Rodnick XhitfikL cd
of 0111 tnl III a a reourcc llUI rll(l the dcclopmI1l 0(1 pllllTn or ocLlI ign
I Ihc ()clhu]l1I ohllk h1s IroJlhl hTIl C1 tnisklciing ()IT th dCctdcs jhl 1T111 i
alplic1 to II strn llchilCtlln lerc On [111 is 1Hied OIcr the litn ill cll-rognilLd phl
the ROtl)llllSCJllC Corhic alld
Bur ill all rillS srages arillio1S on l (I)midcred Xhcn lhl nOlion of
lrlllSfCrrcd to Xesrern or ro three dillllllsional obkcts Ihl ddinirions 1T 1111lth less
a11d on hllance not ustull applkd
18 For a more lpprolh Sle )[ clnplc SlLlh -lllll rr lnd kaning in Rodcrick
Vhididd lL 111 IroJ(Ii of pp I h 1-1-( lncllortl1Il S If1 An ~ Dnmk
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
(i
R F I E ~ T 1 ~ C THE P S T
alld fUIlUOIlS of
in 11Ft lid
20 rrhm
2l
all amhirious interpretalioll of the bronze
lrgll1hlltmiddot erC blcd upon lnu(h brc [Lr thar did not lKll~aril h1l
llisa Kestler Ihe I(tc Recollsidered
( ht(llC (Lllll1don Press I )Wl)
I l)l) I PI 2)-~
liShsd alld quoled
([ondoll ecorse 1llell amp l i l1 ill J ))~) PI 2())-21l
report l~ ZhoIlgglio shLhui yanjiuuo Ii j~ VImiddotrt 1 )IXII til Ii) 1111 Ilhl lomh fhl lao l[ Yillu IlkijillS 111I
la lllei LOlleloll I LlrltlId
chuhlllshc 1)110)
22 Som of lhe IIhnqHio in Ill lao hrolllc Hl discussed ill ( A
chill (
(iliizdIiOl ~l Hllll ll) [onciol1 Y[e l ])B6) 11 111-102 llld ClO l)ill~lIl1S
1 1[ Y~llJi klo-Yilll Fuhan liltl qinl nliJ1~lll IUHlO I
lj 1 disCliSSioll 01 lill lUll( y (~i Iund 1I1j()J1~ Ill inLTilliol1s (10111 rhl lomh 01 Iu Ila in
liIIII( 1WW 101 2 i CIIlI CitUhll1shll 11 11 -1 i(l
2L I md lhis I)(lim il~ Brolle Iki~II
21 hile I h his pilpll lhe llIlhol hc fH(lickd lhcLJIlttiuf 101 Ill
lrSlllcn 1)lni1 lilkl ill (l)udull1 1I1tIIol1dol1 [lke- lnierif Ire 2(j()~)
hili in 11r [)11rl1is Chri emdel1 md Colin RCIlire_ k
1illrilli tII i(i iiM i(
2) Ih lrellllll1l ul
~l1cra[ ion (hlt
lO 1leT
II in jillcr hook PI ~1~1 Iilll
O))) Sl ti lIidKlh
[lIrlIed IInder the
II lidlii S(klf( I) I Lills
1C)JU) 1 (I
2N lrn
r~l1l1 hH the lIL ot
(Tuin cllr middotlji
1I))) Blu Ihl tIllS 1Il Ihich sLit mild lw IiIil( lIe 11rious 1I1d 1 wirh
f)oliricl lllei 1lil11gt el (l lOll illdur (olldon
Ihuns tnt [(elSOIl 1())~1 lItt Llrin1 IIXIIF] (In iIlt ROhlif(dIIU (london
1hlI11 c mel [Iutison 2()(Ji) A I(cent lw bnin loLis nplors the Ilialiomhip oj
alu- 1 I-hihitl-d ill Jl-ur~lfni Ohl(t in lrl ~hi[Ll L- hi nUCFl ulJrll)cnoJ ()nldilCJiI
I
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
I( 11 ICSc- ~hal crc lLlplcd ill thc 111 ~III~ Jiscllcd h lo Yi ill Jilt If ex ~IIIi S ill C]ild (un[1l1blihed I )Ihil I hesi lIblllilted ill pmiri rlilfillllClH or
of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
oil m Jrli t o( thi 1[1lt1 ov
is
ca
fa
la sil
10
1Jrvard
hrnnZl
5
-211
~cnu
Sludy
1aol in
for lll
) rlllil
ITilll
izabclh
dcr lhl
I Lllk
turu 1
ip[ions
sion of
nOli III
onux
d with
mdoll
ll1don
of
~1ark
D1(e
7hilik
[1(rJrc
REVJIlG A~ClF~l OR~l ~T ~) lFfF PI F~CE 0 tHE PAST
Gcn[J1cr eI d
cds 7J(
Pre 2001 pp l))-2i3
BLlcbdls l)l)l))
nrended t)r lISe in the afrerlik I rilme with h()1ll th1 len huricL Iilu hile bronze were
I ha 11 an ahcrl iIe- I hei r 11 lould h1 Ie IWe11 plTIetllareci
HlIlt1hl lino Conccming the Inscripri()n ~LI Ol1S Ulei CrlIldsol1S
Amw Asitl( OJ 1 110 I2 1t)lt)) PI l-ix
31 hchui
I )l) 2 I
ire of Yin period wl11h al (uojililual1g Yin1l al
chubal1h I))K)
52 _gtCl Zh()l1g~tI() hvhui ylnjiuuo Allyln~
I klllll nI1ghi I )1
+ ([ClIHi)l1 ofa ~hng pcriod Iolllh ij
lOgii 20UI PI - ll
cOlnptrcljid I
p J(() Figllre 10- lIld (r(llll nll1g Sl
shchui
14 IJwngglio hvlllii
~H2
)i hn 10 lllllpk Cl (lCll 1cngji
ill Slur (irJi hlllnii ~Ilr(llf 1 (
Inl I
1 IlL ligulc 1I1e1 p j2 ligllr 1n IIXiI
Yi) Ihoil qin~tol1gqi ~Tlki lulu jlf o( (hI1 Ilnlllio in lllTicn (llntion1
ljl1mii hianji lilLltlhui [
(liJe(Il~Il (jlftJ~ji nL ) Xi
o I oj thl cslllll
Ihou secllon o( I) Ullll]ic-le edilioll or hill Inllll1 ([Iling e1u huha[Jh I ltJltJ(1 ID
=) no t)
36 1 one lillll lill modi hld ith
Ihou h1Otle 111 ld ~hlllS ill 11[ II Atllllg cOllfirm IhlI hrollCs l11ad
I(Tl made In Shmg [Hlnhi ee Ii
bnlllV wilh Ihi i~Hure md mold ]Ulld
ocilicd with rill( lroll~lll l1Orm
and Iiu Y
Xi~IOlnil1lUn d)llgllltlndi lhutu fIO~Ul lll dui Yin-u qitl~lOI1f~lji llc jidill il1 fel1 hi t~i
it II SUInt 1lL opinioll Oil Yilnll hrOl1lc ha d UPPl1
frolll jj()tllinttnl
3 [(luil I luher inSOllllm1I1g Brollll R[J11rk Oll
cd lhc (rlt l1FOJl( (r (JIlld 1
1lLlll 111 or Art I JK I PI I()--Jl) nal11e uch picLv
10 tngcll (Htnr
lltl I Llin c She dol not
hu-cLr considtr their oritil1 in till n(TLarion or (OIHil1l1~Hion of 11111ch Illort J1ticnt dC(Or~llic
dlicc Bernhard clrliI la ]Iracicd Ill COlltrlr c(n 1l1l01lg Shang hnll1C hi
Srocill 21 (1 Ji I) PI I-gO
RFI~FTIC TIlL IS
f1criod i illutLltCe ill IkJlallShn~ lt11 u bogu
Shltlllgcheng -inflian til ji1uO Shang Illll
dicmTcd Shlnl wmb It at
Zhenphou] lIiIIII1i 20()5A Pl p 1() hgurc I it 10
rill dllc of u ()ill~ hut I ilil a rather nlOrc
subdued f()rm of decoration Igt tlllllc1 1I1 t(HllllLuOlb or buildings lxjmd at Ammg sec
Zhongguo hchui klXUeHlall Lwgu
Henall
rill11
i I[~(
(u()jilhll~g Yinxll
hubnlw 1))1) 11 i hgures l) I )2
ii In I he Reuse of neiclll III
Inc illu Lllc it ill0 re tidk
irltIl 1011 Rililil 8111111- PI In 12gt (olllplrl cd I()[Iur (1Il 1]lkl11I11l1gtlIL 1 He VCllll1 1 ZllOU Elst ill ((In (liIlOi( (o 11 Illl I 1jl)I) If 111) the
Ne Ihonl~ ill idlifJJirtl ntlt(t fs(lJ)J f(c(Ji(J (ldrlr~ll 01 22 lHL I LUllllllll ~OOmiddotiL pp l 3-1 ll
tiqcd 011 hlkcllhallcll ill thl IUllll
BCii Ihi imporrlIli IlOarc is digtcucd ill iHllllTltll1S aniek tlld m011ograph cC epeirlL Ilijing
lnd Blijitlt dIXlll gUlLti lllInil1g y~tlljtll
(uwfi JOI~lllitll JillI Xi 011 jiclIi II sUlt Ij hc fill ~qcTll Ilwll hrol1~ CC]llnl J[ ZhOlllll1Il1
an (lkijiIlS VCIllI dmhulhe 2()02)
i gt lor lcl iSL)Lric- ill I he ILtn ITioci ll od ltlllarc 1(Corcb or [)IlOllli or IlronZl lssels on
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ill Lit~rr) SOlllll tllli Somc ILTtinlli Rllllnh oil Zr ch
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of t hc relli I 1 III enI tor ~h llegrcl o( 1)Ollor or Ph iImoph ri (hrml ()O raquo)
reiI I am inkhtcd to RohcIT I Lnlil horl fl [hcpilotogllh of thc Illltnd flI hi thorough Cl)lllllellI
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