CHINESE HAN DYNASTY BRONZES
Chinese bronze casting techniques had been developed well under the great Emperor Yu of the Xia dynasty, before 2200 B.C.E.
Through Xia, Zhou, and Qin, Chinese bronze casting technique rose
to its peak development in the Han dynasty. Chinese bronzes had
functioned as cooking vessels, drinking vessels, measuring
utensils, instruments, weapons, and so on. The forms of bronze
are various, round forms, rectangular types, and more complex
forms based on the shape of wooden wares. Ornamentation became
delicate and the shapes more refined.
Most of Han bronze objects are found in burial tombs. Galloping Horse ( figure 1) is a good example. The Eastern Han bronze, h:34.5 cm, was found at Wuwei in Gansu and was made in the second century C.E. Not only were horses important animals for transportation and warfare, but also they were symbols of
heroism. With the squinted eyes, wilde opened mouth, and fully
extended legs, the realism of pose and movement of the galloping
horse indicates the dynamics that many heros admire. The swallow
depicted beneath the rear right hoof of the galloping horse
brings up the name of the steed; and the Chinese always favored
poetic names for the spirited horses they admired.
Most of the burial objects were to show the precise wealth of the owner of the tomb and to provide the material life to the owner for the next life. Lantern in Form of Serving Girl from the Tomb of Lady Douwan (figure 2) is a good example. The gilt bronze lamp bearer was dated in the late 2nd century B.C.E. and found at Mancheng in Hebei. It is an ingenious device. The lamp has a sliding door to control the amount and direction of light. The hollow right arm and body of the servant function as chimney and container for the smoke rising form the burning candle to keep the room free from soot. Also it is a convincing representation of a servant's devotion to her master by kneeling and providing light. Again, the realism of pose is depicted to reinforce the presence of servant and the prestige of the tomb's
owner.
Poshan incense burner from Prince Liu Sheng Tomb (figure 3) does not show realism nor the precise wealth of the owner of the
tomb, but illustrates traditional Chinese religious belief Taoist
myth the relationship among heaven, humans, and earth. First of
all, the smoke from burning incense rising from the perforations
would have been conceived as clouds emanating from mountain
grottoes, the shrines of God. Secondly, the striking uprising
shapes of the mountains suggest the instability and the power of
mountains part of nature. Humans and animals live peacefully
between heaven and the earth. Finally, with its uprising waves,
the sea conveys mystery and power. The irregular shapes and deep
undercuts of the landscape show the strong possibility of the use
of the lost wax method in casting.
Chinese Han bronzes had functioned in variety from religious purpose to everyday usage. There are more treasures to mention. Here I briefly describe three of them and I hope they wil inspire you to do some research on Chinese Han dynasty bronzes.
References: Ting Sing Wu, Treasures of China.
Sherman E. Lee, A History of Far Eastern Art.
The Metropolitan Museum of Art, New York, Treasures from the Bronze Age of China.
WRITTEN BY:PEN-LUNG LIAO
& RAYMOND HO.
DESIGNED BY:KATHLEEN ENRIGHT
(Basic Design, City College of San Francisco)
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