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MARGARET MEDLEY

a handbook of

CHINESE ART

Bronzes / Buddhism / Ceramics / Decoration / Jade / Hardstones/ Paintings / with 24 pages of illustrations

A Handbook

of

Chinese Art

is

a basic guide. :,;

iO

profusely illustrated with hundreds of draw-

and

ings of art objects

details, for collectors,

dealers and students of Chinese art and anIn this book. Margaret Medley, Curator of the Percival David Foundation of Chinese Art. fills the widely felt need for a

tiquities.

handy guide

Each

section

duction to tions,

of

to

Chinese

and

arts

consists

general intro-

a

of

crafts.

special area, followed

its

listed

Chinese

The

art.

sections of the

defini-

book cover

bronzes, the figures and concepts of

most important nese

by

alphabetically, of the key terms

Buddhism

our understanding of Chi-

to

ceramics, types of decoration, jades

art.

and hardstones, painting. There are also tables of the Chinese dynasties and reign period marks, notes on pronunciation, and a selected bibliography for each area of interest.

A Handbook ing

welcomed

of as

Chinese Art

to the vast field of

Chinese

"A handbook supplying mation within the

more

is

already be-

a standard reference workart:

a wealth of infor-

a single cover

so for the

most welcome,

is

pages of outline drawings

indicating shapes and forms.

.

.

7— The

Arts

handy book,

clearly laid out and be a good reliable quick reference for collectors and those coping with the numerous descriptive terms, both Chinese

"This

is

a

easy to use.

It

will

WITH 24 PAGES OF ILLUSTRATIONS

bdek

fir

$5.00

!

co

UU£5 NOT CIRCULATE

CENTRAL REFERENCE

S£ =

A HANDBOOK OF CHINESE ART

A

HANDBOOK

OF

CHINESE ART for

and students

collectors

•.

MARGARET MEDLEY

HORIZON

PRESS PUBLISHERS

NH'.V YOR--C

r_".

;

:

American edition 1965 published by

HORIZON" PRISS PUBLISHERS i;':

New

Avenue

Fifth

York. X.Y. 10010

COPYRIGHT

£

1964 BY LTD York House. Portugal Street, G.

Library*

AND

SON'S,

London

WC2

BELL

of Congress Catalog Card Number:

:

:::;:; i

:::

Great Britain

-

0366

PREFACE The terminology of the arts and crafts of Europe is generally well known, a number of excellent handbooks, primers and guides, easily available to

over the

last

amateurs and students, having been published

few years.

we are less well of Professor S. Howard

In the field of Chinese art

provided for despite the publication

of Chinese Art and Archaeology, which is primarily intended for the student with some knowledge of the Hansford's

Glossary

Chinese language and characters.

no such

The

familiarity, representing as

gap for the general reader.

it

present

handbook assumes

does an attempt to

The terms included

fill

are, in the

this

main,

which one might encounter in any book on Terms are briefly, and I hope explained, wherever possible illustrated in the line clearly, and drawings associated with the seven sections into which the book

limited to those

Chinese

is

art written in English.

divided.

The study of Chinese to attempt a

art

and culture

is

an expanding one, and

comprehensive dictionary of

art

terms and icon-

ography would be beyond the power of any one person. In the it will be found that the sections on Buddhism and painting are subject to severe limitations, such as are perhaps

present instance

less

obvious, but which nevertheless

One

exist, in

the other sections.

omission will inevitably be noticed by those concerned with

ceramics.

This

is

the absence of

all

but reign marks from the

only other marks included in either illustration or which may be used as both marks and decorative motives. It seemed to me that ceramic marks form a subject for study on their own, and that they should be dealt with in a

illustrations, the

text are those

separate publication.

In order to compensate for these limitations an introductory

note

is

included with each subject, and at the end of each section

a short list of useful books has been added, which will, I hope, prove helpful to those wishing to delve more deeply into the

subjects in

which they

are interested.

Only books

in English are

PREFACE

many of these

found to quote from sources in other languages, especially in French and German. An admirable example of such a book is Martin Feddersen's Chinese included, but

will be

Decorative Art.

In compiling the text I have drawn on many sources, but the most useful single works for their own sections were Soothill and Hodous' Dictionary of Chinese Buddhist Terms, Benjamin March's Some Technical Terms of Chinese Painting, and the Chiehtzu yuan hua chuan, 'The Mustard Seed Garden manual of painting'. From this last work, of the late 17th century, I have been able to take all the illustrations for the section on painting. The illustrations are also from many sources, some are redrawn, others original. Of those that are redrawn I must thank Professor Hansford for permission to use a number from his Glossary, and at the same time acknowledge a debt to Miss Helen Fernald's

Chinese Court Costume, for

some decorative motives.

preparation of the Bronze section

help of Mr. A. H. Christie,

who

ductory note for that section.

I

In the

have been grateful for the

has kindly supplied the introI

have received

much

help,

and advice from friends and colleagues, and hope that the book will prove useful to some, at least, of those who have

patiently given,

so generously given

me

their time.

Margaret Medley

CONTENTS

....

Preface

page

5

Chinese Dynasties and Reigns

ii

Note on Pronunciation

12

Bronzes

13

Buddhism

46

Ceramics

58

Decoration

91

Jade and Hardstones

106

Painting

112

Miscellaneous

125

Recommended Books; Periodicals;

Societies

Collections

and 131

ILLUSTRATIONS Map

of China

8,9

Plates 1-9

Bronzes

Plates 10-11

Ceramics

Plates 12-14

Decoration

Plate 15

Jades

Plates 16-20

Painting

.

Reign Period Marks

15, 17, 21, 27, 31, 35, 37, 39, 43

61, 75 93, 97, 103

109 113, 115, 117, 119, 121 128, 129

\

•

Tun-huang

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r«

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f

v

^u c

^ \ Chu-lu/Hsien

' y Nanking] '

E

f^-v/ANHUL HanJ&w Hangchou,

^Hsiang-huS ^.Yugi-chou,(Shao-hsing) ^hYu-yao . ^^^J-S iChing-teChen ^J

/)

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Lin-ch'iian J

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m

i

Li-shi+iJ&v'u-chou)

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£j[Chi-chou)' £j

u

YThEKIANQT

Nan-ch'anq

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Chien^in -hua%

Ch

"?0-c^

^W G Canton

'Ctiuan-chou

TAIWAN

Hong-Kong 7O0 i

^00 _l

Miles See overleaffor

Key

to the

map

500

—I

KEY TO THE MAP Archaeological

sites

Anyang (Honan), Bronze Age Ch'ang-sha (Hunan), Bronze Age Cheng-chou (Honan), Bronze Age Hsun-hsien (Honan), Bronze Age Lung-shan (Shantung), Neolithic Shou-hsien (Anhui), Bronze Age Yang-shao (Shensi), Neolithic

Buddhist

sites

Hsiang-t'ang Shan (Honan)

Lung-men (Honan) Lung-shan (Shantung) P'ing-ling Ssii (Kansu)

T'ien-lung Shan (Shansi) T'ien-shui (Kansu)

Tun-huang (Kansu) Yii-t'ang Shan (Shantung)

Yunkang

(Shansi)

Yiin-men Shan (Shantung) Ceramic

centres

Chi-an (Kiangsi) Chien-an (Fukien)

10

Chien-yang (Fukien) Ching-te Chen (Kiangsi) Chti-lu Hsien (Chihli) Chun-chou (Honan) Hsiang-hu (Kiangsi) Ju-chou (Honan) Li-shui (Chekiang) Lin-ch'iian (Kiangsi)

Lung-ch'uan (Chekiang) Nan-ch'ang (Kiangsi) Te-hua (Fukien) Ting-chou (Chihli) Tz u-chou (Chihli) Yi-hsing (Kiangsu) Yii-yao (Chekiang) Yueh-chou (Chekiang) Historic ports

Amoy

(Fukien)

Canton (Kuang Tung) Ch'ang-chou (Fukien) Ch'iian-chou (Fukien) Shanghai (Kiangsu)

Swatow (Kuang Tung) Wen-chou (Chekiang)

CHINESE DYNASTIES AND REIGNS Shang

(Yin)

c.

Chou

c.

Warring

Chin

Han

1500

.

.

.

.

Six Dynasties

-

c.

1028 b.c.

1027-249

b.c.

221-206

B.C.

b.c.-a.d.

220

States 481-221 B.C.

.

206

a.d. 221-589

.

Sui

581-618

Tang

618-906

Five Dynasties

Sung

907-960

.

960-1279

.

Yuan

(Mongols)

Ming Hung-wu Chien-wen Yung-lo Hung-hsi Hsuan-te Cheng-t'ung Ching-t'ai

Tien-shun Ch'eng-hua

1280-1368

.

1368-1398 1399-1402 1403-1424 1425 1426-1435 1436-1449 1450-1457 1457-1464 1465-1487

Hung-chih Cheng-te Chia-ching Lung-ch'ing

Wan-li 4

T*ai-ch ang T'ien-ch'i

Ch'ung-cheng

Ch'ing Shun-chih K'ang-hsi

Yung-cheng Ch'ien-lung Chia-ch'ing

1644-1661 1662-1722 1723-1735 1736-1795 1796-1820

Tao-kuang Hsien-feng Kuang-hsii

Hs iian-t'ung

1368-1644 1488-1505 1506-1521 1522-1566 1567-1572 1573-1619

1620 1621-1627 1628-1643

1644-1912 1821-1850 1851-1861 1862-1873 1874-1908 1909-1912 II

NOTE ON PRONUNCIATION The pronunciation of Chinese words

is fairly straightforward following selection of approximate equivalents is followed.

if the

Initial consonants

ch, k, p,

t, ts,

ch', k', p',

and

t', ts', tz',

hs, is a soft S

tz are hard, as j, g, b,

are

all soft as

t, ts,

in ch-, k-, p-,

produced by placing the

tip

dz in English. t-, ts-,

dz-, in English.

of the tongue against

the front lower teeth, j,

resembles the French

ssu

like a

is

but

is

long hissed S before

somewhat

is

je,

very slightly rolled 'sir'.

like

an R.

For practical purposes tzu

similar.

Vowels

always long.

a, is

like 'aye' in English.

ai, is

ao, e,

is

en,

ow'

as in 'cow'.

and eng, with the

e usually resembling the

French eu

as in

'fleur'. e, i,

or eh, as in French

e.

as 'ee' in 'see',

has

ih,

no good English

equivalent, with the

'cheroot' being perhaps the nearest, o,

almost equivalent to English

'or',

ou, as in 'although'. u, like oo. xi is

12

narrow

like the

French u in

'tu'.

first

syllable

of

BRONZES Although,

as

*

Needham has shown, cast iron played a China many centuries before its use in the West

Dr. Joseph

major role in became general, it was copper in various alloys which provided the main material for the makers of metal vessels, mirrors and the The like, coins, as well as weapons down to Han times at least. also and fired moulds, iron moulds, clay in cast alloys were cast, in by the cire-perdue method, and were finished when cold by various standard metalworking techniques. Copper (melting-point 1,083 degrees Centigrade) occurs widely in China. The metal in its pure form is rather soft, but alloyed with tin to increased,

facilitates its

working.

fairly constant

ever,

make bronze

while the melting-point

its is

hardness

is

substantially

lowered, a fact which

Conventional Eurasiatic bronzes show a

proportion of 10 per cent of tin.

In China,

how-

the tin content varied considerably and the practice of

adding lead to the alloy was

common.

This further reduced the

melting-point and produced an admirable casting metal which was rather softer than the 10 per cent tin alloy.

The

lead which,

unlike the added tin, does not dissolve in copper, remains suspended in globular form in the melt and, by improving the flow, greatly reduces the risk of surface bubble flaws in the casting. A lead-tin alloy has the additional advantage of being easier to work with gravers and chisels when cold. Chinese casters also made use of copper-lead alloys, particularly in coinage, where its

use

may

be ascribed to economic rather than technical con-

siderations.

In typical simple alloys the tin content of early Chinese bronzes 13

Animal Combat Motive

—Axes Lead may be included in

runs from 12 to 20 per cent.

20 per cent, while in the case of copper-lead

of the

may

latter

be

as

high

Animal Combat Motive

is

as

as-

sociated with the art of the pastoral

nomads of

the

Eurasian

including

the

Chinese

Steppe,

The

region of the Ordos Desert.

of two fairly evenly matched opponents such as two stallions, or a tiger and an eagle, in violent combat. The interpretation of the motive is vigorous and strongly linear. See Ordos. [la]. motive

consists

Animal

Style.

See

Ordos.

Animal Triple Band is of the the

k'uei

dragon

creature

is

a variant

(q.v.) in

which

distributed

into

three bands, the top one contain-

ing the

crest,

or horn; the second

band, the eye, ear and part of the

body, and the third one containing the nostril, lower jaw, foot or claw, and the lower part of the body. As a decorative element it is confined to Shang and Early

Chou.

[16].

Animal Tsun, the

form

a

of an

Many are known, commonest

PLATE Band, i]

1.

c-f]

is

vessel in

animal.

[It],

and perhaps the

the elephant tsun.

BRONZES,

alloys, the

these

up

to

proportion

30 per cent.

The opening of this type of vessel always in the centre of the back. Confined mainly to Shang and

is

Early Chou,

Huai

style

re-appears in the

it

in a modified

(q.v.)

form.

Animals of the Four Quarters are commonly found on bronzes and lacquers of the Han period. They are; the Sombre, or Dark, Warrior [lc] (a tortoise with a snake coiled round the body), representing the North and Winter; its colour is black; the Green

Dragon

[1/],

representing the East

and Spring; the

Scarlet

Bird

representing the South and

[le],

Sum-

mer, and the White Tiger representing

the

[Id],

West

and

Autumn. Axes,

called ytieh, ch'i or fu

9

are

either tanged or socketed [lh]; the

socketed type

is

more

varied in

that the socket varies in length

tube to a ring. Both have decorated

from

a

types

generally

tangs protruding

of the

shaft,

from the back

and, in the Shang

period examples, these

ornamented with

may

be

turquoise inlay.

Animal Combat Motive, b] Animal Triple Animals of the Four Quarters, g] Belt Hooks, h] Axes.

Animal Tsun.

14

wine

BRONZES

-fr

j]

a]

Bird Tsun.

II

PLATE

1

Belt

Hook

The

—Broad Figure Band

blades vary

form,

spatulate

a

that

may

form

ribbed, ro a

European

from

simple

be

with

battle-axe,

wide some-

a

is

times decorated, and

also oc-

casionally perforated.

is

The tanged

type are mainly datable to Shang

Chou;

Early

type

current

is

the

socketed

throughout the

whole Bronze Age.

Hook,

Belt

hook

a

with

a

straight or slightly curving shaft,

with

a stud at

one end tor fasten-

ing into the belt, the

hook

at the

other end to catch a link,

The along

its

be ornamented whole length, or only at

from the

the stud end, farthest

hook.

[lg].

may

shaft

In profile they often

show

proportioned vary consider-

a gentle, beautifully

S-curve.

ably

as a

The}'

often with a large butt end, that carry very

complex decora-

tion, winch ma}- be gilt, inlaid with gold, or silver, or turquoise, or with several ot these together. The hook itself may be in the form of a bird's head, the goose being particularly common. They do not appear to have been

made (in

before the 6th century B.C.

Huai

style),

and cease some-

time towards the end, or soon

PLATE Chia.

c]

Cicad.

16

is

rai-kou.

Bent Ear Handles spring from the body of the vessel below the rim, round

which they are bent upwards. They make their appearance late Shang times

m

and become a common feature in Middle Chou.

Bird Tsun, a wine vessel in th form ot a bird, the head of which in Shang and Earlv Chou examples iorms the cover [1/]: the owl seems to have been the

commonest periods.

when

bird

In

Huai

the type

is

in style

these

two

examples,

revived, using

as a rule the

goose or pheasant, the

opening

in the centre ot the

is

back.

type from the long and

slender to the short and stubby,

may

end oi the Han period.

similar to the

arc-shaped blade, which

and

alter the

The Chinese name

BRONZES,

2.

J]

Chiao.

Ch une.

c]

Bottle

Horns occur both on

masks (q.v.) and on dragons (q.v.). The horn resembles a chianti bottle with a

t'ao-t'ieh

k'uci

mouth; found only Shane and Earlv Chou.

slightly flared

in

Broad Figure Band, an element of Middle Chou decoration, which occurs in many variations, of winch seem to derive mately from animal torms.

all

ulti[2a],

Broad Figure Band. />] C and T Decoration Cheng Chiieh. /"] Chien. $] Chien sword. /;]

k]

a]

Chih.

Bhca

PLATE

2

Bronze Disease

— Chiao

Bronze Disease, powdery

pale green is

-fr

by

indicated

spots or lines,

the destruction of the alloy

by

presence of which form an un-

contaminating

the

chlorides,

cuprous

stable

This

chloride.

continues to react even under ideal

museum

conditions,

destructive

the

chlorides,

it is

and to halt of the

action

necessary to elimin-

them. Cuprous chloride is not only insoluble in water, but may also be inaccessible in its greatest concentration in the deep layers of the incrustation. Chemate

ical

treatments are

known and

museum

laboratories

used

in

specialising in

of

treatment

conservation, but a

bronze

no

is

guarantee that a further outbreak

may

not occur.

diameter of which exceeds the height of the barrel.

There are and the decoration usually consists of t'ao-t'ieh masks

no

bosses,

(q.v.)

on each

curving

slightly

nnd-section.

Middle Chou period, when it makes its appearance, and of the Huai and Han of the

Typical

bronze

C

vessels.

and

T

The

side.

straight

and hollow, perhaps for mounting on a pole. Confined to Shang and Early Chou. Some modern Chinese handle

is

short

authorities attach the this type.

name

nao to

[2h].

See Axes.

Ch'i.

Chia, a wine

vessel

resembling the chueh

somewhat (q.v.)

but

generally larger and without spout

or backward extending Up. has

instead

a

wide

circular

It

or

mouth with two diametrically capped columns opposed and at right angles to the

rectangular

handle

Cabriole Leg, swelling and rounded at the top with a slender,

BRONZES

lip axis.

In

some

cases the

may be hollow at least part of way down. One small group

legs

the

rectangular with four legs, and capped columns on the centre of

is

the short sides; there

may

in this

type be a cover with a bird-form

handle in the centre. The vessel confined to the Shang and Early

is

Decoration,

a

term

Chou

periods.

[2c].

wine

vessel

introduced by Karlgren to distinguish one clement, winch, found together with several others, is covered by the general name

'thunder pattern' (q.v.). It occurs only in the Shang and Early Chou periods.

[2b].

Cheng,

a

elliptical

18

clapperless section,

the

bell

of

long

Chiao,

a

very like the

chueh (q.v.) but without capped

columns; the spout is replaced by If a cover a second extended lip. survives it is usually found to be in the form of a bird in flight, or of an animal. The chiao only occurs in the Shang and Early

Chou

periods.

[2d].

BRONZES

Chien

ft

Chien, a deep, wide, circular basin, with two or more handles, which may be ornamented with animal heads and fitted with rings. The vessel was either filled with water, for use as a mirror, or was filled with ice in which perishable foods were stored. The latter view is supported by modern Chinese opinion, following an early text. that

It

is

also

suggested

was used for washing

it

was the p'an

(q.v.).

The hollow

foot

is

— Chiieh

generally

Decoration tends to be rather restrained on this type of vessel, which is confined to the splayed.

Shang and Early Chou periods. chih for this vessel was first applied in the Sung Dynasty, and it is not certain that it is

The name

correct.

[2k].

Ching.

See Mirrors.

in, as

Surviving

Chio.

See Chiao.

Chiu.

See Kuei.

examples are of the Huai period only.

[2/].

Chien,

bronze sword about 2

a

feet,

or 2 feet 6 inches in length

with

a

narrow smoothly tapering

blade having a pronounced central

The

rib.

largest

on record

is

3

length and the shortest 7

feet in

both exceptional. There was no crosspiece and the hilt was small and slender, with two thickened bands of metal, equally spaced along it. The pommel of

inches,

the

sword was often

as to

so fashioned

accept an ornamental disc of In

jade.

some

cases the point

of

junction between the blade and the hilt fitting.

was decorated with a jade This type of sword was

common

Chou period Han Dynasty.

in the Late

and during

the

Chronology.

See Phase.

Chtieh, a wine vessel with a body

of narrow section.

has a large open spout

for pouring,

and opposite

and extended

flattened is

or circular

elliptical

It

a loop handle

on the

there

side

of the

body. The vessel stands on three of triangular section, that

legs

At the root of two short capped columns, one on each side. If spread a

little.

the spout are

the vessel bears an inscription, this

generally

appears

on

the

slightly flared

wide

with a mouth and fairly

a drinking vessel

belly,

section,

but

usually

circular

occasionally

in

oval.

body

under the loop of the handle.

The flattened elliptical type is more primitive form, and for

the the

most part pre-dates the finds at Anyang, and is perhaps datable to a period before 1350 B.C.

Chih,

this a

lip;

type

made

as

a

The

whole was no longer

end of the Early possible that most of the surviving examples are of after the

Chou, and

it is

19

Ch'un

— Coiled Beast Motive

&

Shang date. The decoration may be sparing or extremely lavish, and flanges (q.v.) sometimes extend up the spout and on the extended rear lip. [2e] .

Ch'un.

See Tin.

BRONZES

ornamented with three rows of three bosses each, which in late examples might appear as coiled serpents, making a grand total of 36 bosses. The bells were struck with small bronze or wooden drumsticks. This type of bell is

by some Chinese writers have been made in the Shang period, but the earliest surviving examples date from Middle Chou. Examples with complex animal loops only occur in the Huai believed

Chung, forms,

a bell.

all elliptical

narrowing a top. is

occurs in three

It

little

In the

[2/].

in section,

and

towards a

flat

first

form

there

from the centre of and near the base of

a shaft rising

the

flat

top,

the shaft

is

has a

narrow

loop in the centre of the and the third type has a complex loop consisting of two confronted animals, sometimes with their heads turned back over the shoulder. A graduated series of these chung could be hung up tall

flat surface;

as

a

chime in

frame, and

known.

sets

Very

a

stout

wooden

large

examples,

feet in height,

were usually hung up alone, and were named t'e-chung, 'special bell'. The surface of the bell is divided into three main panels on with a decorative zone bottom. The central panel, narrowing towards to the top, side,

at the

was usually left plain, or carried an inscription; the two wider panels on either side of this were

PLATE

3.

Cicada, a decorative motive of the Shang and Early Chou styles. It

in

from the most

realistic

form it may be used banding element, and in its

its realistic

as a

stylised

form

usually

occurs in

Hanging or Rising Blade decoration (q.v.).

[2/].

BRONZES,

a]

Coiled Beast Motive consists of a feline curled up with its head to

own

sometimes with the feet, ears and tip of the tail similarly ornamented, with a repetition of this motive on a minute scale. [3a]. The objects on which the motive appears are usually small and suitable for

its

tail,

personal adornment or as harness

ornaments, studs and buttons being the most common. The c] Cosb] Gourd Hu. Hanging Blade Decoration,

Coiled Beast Motive,

mic Mirror, d] Fu. e] Flat Hu. f] Ho. i] Ho, Huai type, k] Hill Jar. j] Fang-i. 20

varies

representation to the most stylised;

of up to 16 are

measuring about 3

each

style.

a loop for suspension.

The second type rather

to

g-h]

PLATE

3

.

Compound Lozenge

with Spikes

motive is associated with the of the Ordos (q.v.).

— Fang-i

art

&

crocodile skin.

made

entirely

The second type, of bronze, with a

wide horizontal

Compound

Lozenge

A rectangular decorative

Spikes.

element, having lines

with

on each

from two

side,

to four

with a circular

BRONZES

striking surface,

has a slightly waisted cylindrical

drum head is, in some ornamented with four

body; the cases,

crouching

frogs.

The type

is

main field of decoraShang and Early Chou periods only. The term was introduced by Karlgren in 1949.

with the bronze cultures of Yunnan and North Vietnam and date from about the 3rd century B.C. onward. The Chinese associate this drum with the name of the Three Kingdoms

Cosmic Mirrors

hero,

boss or spike in the centre.

It

occurs in the

tion in the

are

those

on

which the most prominent elements of decoration on the back resemble the letters T, L, and V, with the Animals of the Four Quarters interspersed between them and probably with the Twelve Branches (q.v.) arranged round the central boss; with the Animals of the Four Quarters other smaller birds and animals, and perhaps hsien (q.v.) may be included. The symbolism of these mirrors is complex, and is fully discussed by Yetts in The Cull

Chinese

1939).

Bronzes, (London,

This type of mirror dates

from the Han period.

[3c]

associated

Early Chou, the name given by Karlgren to the

See K'uei

Dragons.

Drums

are of two main types. The first is a barrel set horizontally

on

with hide; one celebrated example of Shang date is made entirely of bronze, the closed ends being cast with a pattern that simulates 22

style current in

the bronze art of the period be-

tween of

1028 and

c.

This style

c.

900 B.C. of that

a continuation

is

Shang

(q.v.)

with

certain

modifications such as 'bent ears' (q.v.),

hook

projections (i.e. flanges

that

(q.v.)

become

elaborately

broken up), birds with plume-like tails, and finally the introduction of the pan (q.v.). This style is so much dependent upon that of Shang,

that

the

distinction

be-

tween them is often difficult to make, but generally speaking the Early

Dragons.

Chu-ko Liang.

Chou style is more elaborate

and flamboyant, and the forms are often heavier, lacking something of the simple monumentality of the earlier period.

a stand, the ends closed

Fang-i, a rectangular casketshaped vessel with a cover resembling a hipped roof, which is

surmounted by

a

knob of similar

bronzes

A

shape. is

Flanges— Gourd

^V

peculiarity

of the foot

hie presence of a semicircular

notch in the middle of the lower edge of each side. The vessel does not appear to have been

named in the name it now

inscriptions

and the

was given in

bears

the Ch'rng period.

usually

It is

regarded as a vessel for the storage

of grain, but one modern Chinese authority holds that it should be

among

included

wine

the

vessels.

Four-petal Flower Pattern. See

Square with Crescents. Flat

Hu

sectionj

a vessel> rect angular in

confined to Shang and Early

and

Chou,

decoration

the

usually lavish, consisting

of

with

shaped,

t'ao-

dragons (q.v.) and t teh A few specimens carry (q.v.). only one or two narrow bands of [3/1.

on

of the stan d ar d hu (q.v.) appears a b ou t the 5th or 4th century B c an J continues into tion

vessels

phenomenon more common

Chou

amples.

held

the

Han

.

periocl>

[3^

Fu

&f AxE$

_

.

octangular food vessel with fo ur an g ular ™ ct at t he co e s J [ The cover is almost identical, the

*?"' a

™

-

.

of the Shang and Early Chou periods; they may be segmented, a Early

This unusual varia-

rect angular.

,

Flanges are vertical rib-like projections often occurring

handles

ring

mounted on the narrow shoulders. The mouth is circmar> but the foot

is

k uei

S-spiral pattern (q.v.).

body being moon_

the

.

It is

Hu

in

than in Shang ex-

Contrary to the beUef

by some people that these an aid to good casting,

flanges are

only

some

difference being, in

^™ ^

?***> the handles on the

manY c ° ver *> xt c

of two loop sldes '

kk

so

^^

f

be n ^ removal and used as another dish This cla^ of vessel was introduced

m Mlddle

Chou

f

¥> dl

-

Glutton Mask.

See T'ao-t'ieh.

they are in fact a disadvantage, since they

make

the

moulds more is no doubt

complicated, but there that

they

serve

to

make

the

of the moulds less obvious, as any roughness in the finished product can be rubbed down easily, without in any way harming the decoration. In the Middle Chou style they occur only on Li (q.v.) and are then

junctions

reduced to

little

more than

fins.

Gourd Hu,

a variation of the hu shaped like an elongated

(q.v.),

gourd, stead

circular

in

section.

of ring handles,

it

In-

has

a

chain fixed low down on the body,

body below the Up; the cover, where this survives, is sometimes in the form of a squatting bird, The type only occurs in the Huai the other end meeting the

just

style (q.v.).

[36].

23

Green Dragon

—Hook and Volute

Green Dragon.

P'u-t'ao,

horses and grapes, a

bronzes

Animals

with outspread wings, or even a

literally, sea-

boy balancing the incense bowl on his hand stretched up above his head. The 'hill' was often decor-

name given

ated with animals and hunting

See

of the Four Quarters.

Hai-ma

&

of bronze mirror produced in the T'ang Dynasty; perhaps better known as Lion and Grape mirrors. to a type

and a few examples are with gold. The type is confined to the Han Dynasty and its scenes,

inlaid

origin

is

obscure;

two

possible

explanations have been put for-

Hanging Blade Decoration,

a

long narrow leaf-shaped motive, the tip of which is directed downwards; it is usually filled with cicada [3^] (q.v.), or with a variant of the t'ao-t'ieh [3h] (q.v.), with or without a spiral background. Rising

blade

tip

the

Ho, legs,

is

upwards. The motive belongs mainly to the Shang and Chou periods, but recurs on 18th and 19th century bronzes and cloisonne imitating

objects

of

antiquity.

that

first,

mountain

the

represents the Five Sacred

Mountains of China, and second that it represents Mount Sumeru, the sacred mountain of the Buddhists. See also Ceramics, Hill Jar.

directed

decoration

same, but with the

ward;

form

a

wine kettle on three or four which in some cases are

hollow; the handle at the back invariably

surmounted

by

is

an

animal head; the straight spout of medium length. The cover

is

body by

a

generally linked to the

When

is

The terms were introduced by

short

Karlgren.

bears an inscription, this appears

Hill Jar, or hill-censer, called in Chinese po-shan-lu. In bronze these are surmounted by a roughly conical cover with holes, so cast and decorated as to resemble hills piling

up

to a central peak.

The

occur behind each rising and through these the incense

chain.

differ

from the earlier ones in three

respects; first, the legs are

arched over the cover, spout is S-curved, terminates in an animal's

handle

and and

[3k],

The hemis-

which the incense was placed, was supported in various ways from the wide flatbottomed bowl; the support might be a simple column, a bird 24

of the

cabriole type (q.v.); second, the

hill,

could emerge.

vessel

both on the body and on the inThis side of the cover. [3/]. in all stylistic class of vessel occurs periods, but Huai style examples

holes

pherical bowl, in

the

is

third, the

gaping jaw or bird's beak.

[3/].

Hook and Volute, a motive used as a

background

and occamotive on

filler,

sionally as a border

BRONZES

Hsi

ft

inlaid bronzes, in the It is

a triangular

curl at

Huai

hook with

style.

a tight

wine storage

a

vessel current

throughout the Bronze Age and

Han period. In Shang and Early Chou two One was types were, common. continuing into the

one end.

Hsi, a general name for a large bowl or basin, with everted rim, probably intended for ablutions.

Below the rim outside there may be two mask-mounted handles, or lugs with ring handles.

of vessel

Hu,

—Huai Style

This type

may also be called p'en.

tall

and

slender, often

with a cover and used as

that could be reversed a bowl; this type

section

The other type

[4b].

in

elliptical

more

circular in

and often rather sparingly

decorated.

was

was

section,

made and

heavily

with

rather usually

Hsien in bronze decoration are semi-human figures, often termed

richly

immortals, with plumes flying out

cylindrical fittings

behind them from the upper arm and shoulder, and from the thigh. They occur in this form most

the vessels are often circular in

decorated

t'ao-t'ieh

Both types have on the neck for In Middle Chou a carrying cord. [4a\.

(q.v.).

commonly in the Han period.

with a larger belly than the earlier ones, and there were ring handles suspended from ani-

Hsien

mal

lugs

the

Huai

Hsu,

See Yen.

(vessel).

a rectangular vessel for food,

with rounded corners. The body curves inwards a little towards the mouth and the foot, and the cover carries on the curving line initiated in the contour of the body; on the cover are four cumbersome-looking spurs, which, when the cover is removed and reversed, form feet. On the short sides of the

body are two handles, often surmounted by animal heads; the splayed

foot

by

is

sometimes re-

section,

are

on

the neck.

style,

[4c].

In

the ring handles

sometimes replaced by vigor-

ous animal handles

set vertically.

Both Middle Chou and Huai style examples were richly decorated. In the

Han

ceases to casting,

period, the decoration

be an integral part of the and ring handles return,

suspended now from mask fittings. See

Square Hu, Flat

Hu

and

Gourd Hu. Huai Style

is

the

Karlgren to the

name given by style

of bronze

The

decoration current from about 600

only in Middle Chou and a modern Chinese authority suggests that it was gradually

beginning of the Han Dynasty in 206 B.C., the point in time conventionally regarded as marking the end of the Bronze Age, although iron had been in

placed

four

animals.

vessel occurs

absorbed into the kuei

[44

class (q.v.).

B.C.

until the

25

Huai

Style

—-Jingles

-fr

The

increasing use, for agricultural and military

purposes,

through the

derives

from

the

is

water ewer, bearing a strong resemblance to the old-fashioned

I, a

region of the Huai River, to the north of the Yangtze River,

sauce boat.

where finds of objects in this new style were first made; the term must not be taken to mean a purely local style, but one that was common to a large part of North and East China. The decoration of this final period of the Bronze Age is complex. Especially characteristic of it are the intricate interlocking and over-

[4e].

It

appears

first

Middle Chou period and stands on four ornamented legs;

in the

examples made in the transition period between the Middle

and the

Chou

developed Huai style, may have slender S-curving legs, and in the mature Huai style there

is

foot at ally

lapping patterns, sometimes based

fully

either a foot-ring, or all.

The handle

is

no

gener-

ornamented with an animal mouth biting the rim of

head, the

on geometrical motives, sometimes on animal forms. The

the vessel; late examples may only have a simple ring handle. The spout of the Huai style type is sometimes in the form of a feline head with gaping jaws.

with its prominent gaping jaw, reappears, but instead of being in the form of two confronted beasts

t'ao-t'ieh (q.v.),

and

eye-balls

standard of craftsmanship

generally of a high order.

The

greater part of this period.

name Huai

BRONZES

seen in profile, as so often in the

Shang and Early Chou,

now

it is

seen only as a full face view of

an animal mask. There is great enrichment in detail and surface, and the dragon forms assume a serpentine quality not seen in earlier styles. Some of the patterns have names such as rope pattern, plait pattern, cowrieshell,

hook

and

volute,

Interlocked T's, an element of Shang and Early Chou decoration in which the stem of each T forms one half of the crossbar of another.

m

Jingles are of two kinds. The simplest kind is an openwork sphere, containing a small bronze

scale

ball,

dot

explanatory.

PLATE g] Ladle.

26

to

filling,

(See

Triple LozVolute.)

Hook and

enge and

BRONZES,

4. //]

a-c]

K'uei Dragons,

j]

Hu.

surmounting a socketed

shaft

on harness, or on a chariot. The more complex form has two of these openwork spheres with balls, each on an arched shaft

and triple lozenge, most of which are selfpattern,

fit

d] Hsii.

Jingle,

j]

Ko.

e]

k]

I.

/]

Ku.

Interlocked /]

Kuang.

r

s.

PLATE

4

Ko —Kuang

ft

from each end of a bowshaped bronze mount. The precise purpose of this more complex type is not known, but it seems likely that they were fixed to the rising

front of the chariot as guides for

the reins, and not, as the Chinese have recently suggested, for use with the reflex bow of the Shang and Early Chou periods from

which they

Ko,

a

date.

[4/].

bronze dagger-axe, either

socketed or tanged, hafted at right angles to the shaft. the

weapon

In either case

has a characteristic

Ku,

BRONZES

slender vessel with trumpet mouth, narrow body and high splayed foot. A peculiarity of this vessel is the pair of cruciform perforations that occur in a narrow undecorated band between the splayed foot and the central zone of decoration; the significance of these is not known, but it has recently been suggested that there may be technical reasons for their presence. Ku is thought to be a vessel for drinking, but the name may be wrongly associated with this shaped object. The type dates from Shang and Early a

tall,

Chou

only.

Ku.

See

[4k],

projection to the rear of the shaft; this

projection (nei in Chinese)

either straight

tangular,

curve.

is

or droops in a slight

The nei is often decorated,

and Shang examples are sometimes found with turquoise inlay. In Middle Chou and Huai the weapon undergoes a radical in form, change the lower edge being extended backwards and downwards in a curve, to continue as a prolongation of the blade parallel with the shaft; in the Han period there may be a similar

extension

upwards.

Huai examples both blade and

may Han

be inlaid with gold. period the

slender and the

weapon main

In nei

In the is

rather

blade, in-

stead of being at a strict right

angle to the shaft,

with a

may

slight inclination

be cast upwards.

Kuang, a jug-shaped tical

a

vessel, ellip-

or rectangular in section, on splayed

slightly

spout

is

foot.

The

wide and the cover often

overhangs the edge; the handle

may be large and cover

is

elaborate.

usually in the

The

form of an

animal's head and back, with the jaws over the spout; in elaborate examples another head may occur at the back, and sometimes, when this happens, the lower part of the jug represents the lower part of the animal, with the limbs and claws forming part of the decoraSome examples have a tion. ladle, which fits through a slot in the handle end of the cover. The

decoration

is

often lavish; the type

occurs only in Shang and Early

Chou. 28

Drums.

and roughly rec-

[4/].

BRONZES

—Li

&

Kuei

Kuei, a deep circular food vessel, with spreading lip and foot-ring. It

two

has

generally

handles,

sometimes four, and very rarely none [5a, b]; the handles are usually surmounted by animal heads. One small group stand fixed to a massive cube-shaped plinth. The decoration varies from the sim-

In later times these bronze ladles

were

probably

lighter ones

lacquer.

superseded

made of

by

pottery or

[4g\.

Lei, a wine, and perhaps water, vessel, either circular or rectangular in horizontal section.

It

has

vessel occurs in all periods of the Bronze Age, but is less common The Middle in that of Huai. Chou vessels, which are sometimes termed chiu, usually stand

wide sloping shoulders, with ring handles suspended from masksurmounted lugs; the lower body tapers elegantly to a hollow foot. In the case of the round bodied type, the cover is domed and has a small knob; the cover of the

some

rectangular type closely resembles

have

On the that of the fang-i (q.v.). lower part of the body are animal

plest

on

to

three

specimens

The

most ornate.

the

small

of

feet

this

[5c];

period

covers.

in bronze decoration.

from which there sometimes hang rings. Shang and Early Chou, but some Chinese writers suggest that the round type also occurs in Middle Chou.

referred to

[5h].

heads in

K'uei Dragons. like animals,

in profile, as

Small dragonwith open jaws, seen a secondary element

They are by Karlgren simply as

'dragons', and he enumerates nine main types in connection with the Shang and Early Chou styles. [4h].

They occur

relief,

Lei-wen,

See

Thunder

Pattern.

in a modified

form in the Middle Chou style, and become somewhat serpentine in the Huai style, by which time

Li, a vessel, with three hollow

been be retained for the sake of convemence.

which is peculiar to China, derives from a pottery prototype of the Neolithic period, and perhaps in its ceramic form common to the

Ladles, associated mainly with the Shang and Early Chou periods,

ally three conical vessels

their

lost,

original identity has

although the term

may

legs, in [5 d, e].

which food was heated. The form of this vessel,

Eurasiatic land mass.

are like cylindrical dippers

end

on

the

of long, well-ornamented handles having a slight S-curve.

It is

basic-

merged

together into one about half-way

up the total height. This design meant that the greatest possible area was exposed to the heat of the 29

Lien

—Ming

fire.

may have

It

In Shang and

Karlgren to the style current in bronze art between c. 900 B.C. and c. 600 B.C. Many of the forms and decorative motives differ fundamentally from those of the

handles

earlier periods.

]peen used in

conjunction with a 'steamer' Yen).

was

It

common

(see

to Shang,

Chou and Middle Chou,

Early

and perhaps Huai.

Chou

Early

the

rose

from the rim, but

directly

BRONZES

^r

in

Middle Chou they often sprang from below the rim and were bent round and upward.

sels

such

and Hsii Kuei

Certain

as the

Fu

(q.v.) are

new ves-

(q.v.), I, (q.v.)

introduced; the

undergoes

(q.v.)

modification

by being

radical

raised

on

three or four feet; the Li (q.v.)

Lien,

a cylindrical vessel

small feet in the bears; there

is

on

three

form of squatting

usually a cover with

A

a ring handle in the centre.

large

number of

derrated,

some

others

are inlaid

unand with gold and lien

are

perhaps other metals.

are

gilt,

The

vessel

have been used for cosmetics, and appears first in the Huai style. [5i], is

to

said

becomes arched under the belly, and the Ting (q.v.) becomes shallower and in many cases

Chung bell (q.v.) is introduced. Other changes include the replacement of cylindrical legs by S-curved cabriole

exhibiting

become

little

a

small bell of elliptical

not unlike the Swiss cowbell, with a loop for suspension or holding in the hand. This type is said to have been used for both ceremonial and military purposes section,

in

Shang and Early Chou.

[5/].

Lion and Grape Mirrors. Hai-ma P'u-t'ao.

Mao.

more than

spiral horns, scale bands, vertical scales, wavy line, broad figure bands are the main decorative motives (for examples see appro-

priate

PLATE

5.

h] Lei.

i]

30

number of

vessels disappear altogether; these

are the Square Ting, Li-ting,

Ku

and Tsun, Fang-i, Chueh, Chia and Chi ao, and the Kuang.

Ming, an almost

spherical vessel

with short cylindrical mouth and foot, and mask-mounted ring

name given by

BRONZES, Lien,

A

entries).

handles the

fins

(q.v.)

See

See Spearheads.

Middle Chou,

the quite

Flanges

proportions.

different (q.v.)

resembling

legs,

leg,

and occur only on the Li

Ling,

The

widens towards the rim.

a-c]

Kuei.

j] Scale Bands,

k]

on

the shoulder.

one of these d-e] Li.

P'ou.

vessels

/] Ling,

l-m] P'an.

g]

has

Only been

Shan Mirror.

;E>));~)Jfc^?([(S(

PLATE

5

Mirrors

—P'an

BRONZES

-fr

certainly identified

by

its

inscrip-

was the one found in the tomb of the Marquis Ts'ai in An-hui, dating from the Huai It was undecorated. period.

Nao.

Cheng.

See

tion; tins

Nei.

first

in the 6th or 5th century B.C.

Prior to this date bronze bowls of clear

known

water

as chien (q.v.)

The

Ordos.

semi-desert region

bend of the Yellow River. The relics of the art of this region are associated with the Bronze Age animal style within

Mirrors of high-tin bronze appear

Ko.

See

the

common

great

to Southern Siberia, the

The

whole Central Asian steppe and

true mirror, a metallic reflecting

South Russia to the shores of the Black Sea. Most examples of the bronze art of the Ordos are small, intended for personal adornment or as harness ornaments; knives and short swords also display animal style elements on the hilt, especially in the ibex head ter-

are said to have been used. surface with decorated back,

was

and very light, with a small fluted loop on the back for the passage of a silk cord. at first small, thin,

Most mirrors are circular but a few are square. As time went by the mirrors became larger, thicker and heavier, and the loop was transformed

gradually

round

boss.

into

a

The rim of the Han

appears.

uncertain,

thick; this characteristic continued

nomadic

whole changed.

T'ang Dynasty, when the

atmosphere

artistic

The

large central boss

remains, but the rim

or

foliated.

No

mirrors

inscribed before the

when

may be lobed Han

were

period,

the practice suddenly be-

came very popular, especially on Cosmic Mirrors (q.v.); in T'ang times inscribed mirrors are comparatively rare.

After T'ang there

few bronze mirrors, but those on T'ang tradition in design, and partly on free pictorial design; some are still

are

that survive rely partly

handle running out from the rim is also found. circular; a straight

32

The is

which

common of

races

rarely

the precise

style,

place of the origin of

period mirror was often wide and until the

human form

the

minals;

to

is

the

whole

the

Eurasian plateau and goes back into remote antiquity.

of the

style are

Examples

extremely

difficult

any precision owing to the long persistence of motives. In China they range from about the 5th century B.C. to about the to date with

5th century a.d. or

two

best

sistent

are

later.

known and most

motives in

known

this

The per-

animal art

Animal Combat and the Coiled

as the

Motive (q.v.) Beast Motive (q.v.). P'an, a wide

bowl

raised

on

circular,

shallow

a spreading foot

and used for washing the hands

BRONZES [5/];

Patina

-fr

there are sometimes handles

of the bent ear type (q.v.). [5m]. Karlgren is of the opinion that the type does not occur before Early Chou, but recent finds suggest A that some could be earlier. few early examples are decorated

—Preying Animal Motive

generally ology have been employed. In the present book a classification based on that of Karlgren has been used, but the term Shang (q.v.) has been preferred

Karlgren' s Yin.

to

appropriate equivalents are: First Phase:

inside as well as outside.

The

Shang (Yin) and Early

Chou. Bronze patina, familiar to, and much admired by collectors, is the result of exposure to oxidizing conditions, either of The burial, or of atmosphere. first oxide layer, which is purPatina.

plish or red in colour,

This

cuprite.

may

later

is

Second Phase: Middle Chou. Third Phase: Huai Style. Descriptions of the main characteristics

of each of the four

the second

styles in

column may be found

under the appropriate entry.

called

become

Pien Hu.

See Flat

Hu.

encrusted with carbonates that are

or green in colour, and correspond to azurite or mala-

blue

chite.

Owing

Plait Decoration, an element in

Huai

style decor.

to inadequate pol-

ing, or imperfect

mixing of the

Po-shan-lu.

.See

Hill Jar.

alloy, there are often considerable

variations

in

the

and on any one number of

colour

texture of the patina

There are a problems in this connection that have to be solved by future

piece.

research.

See

Water Patina

P'ou, a large round tracted at the

with

vessel,

mouth and

con-

finished

is very Confined to Shang and Early Chou, but a few may be later. [5k].

a plain rim; the foot

slightly

splayed.

and Bronze Disease. P'en.

See Hsi.

Preying Animal Motive, like the Coiled Beast Motive (q.v.), is of nomadic origin to be found in the whole area from the shores of the Black Sea to the great bend in the Yellow River. The motive consists of a predatory bird or animal associated with the races

Phase. In 1936 W. P. Yetts proposed a division of early Chinese bronzes into three phases. His system has been widely adopted in Great Britain, but less commonly in the rest of Europe. In Sweden and America Karlgren' s classification and chronChca

attacking another animal, usually

though not invariably of vorous

species;

a herbi-

thus an eagle or

33

Rising Blade Decoration

— Spearheads

tiger attacking a stag or buffalo.

The motive

[6a],

papers Yin and Chou in Chinese Bronzes (1935) and New Studies in Chinese Bronzes (1937), in which

interpreted

is

with extraordinary sympathy and pathos.

See

Ordos.

he

out his

set

their

See

The

chronology.

Hanging Blade Decoration.

sels

Rope

Li-ting, Yu,

for

the

styles

and

criteria

of bronze

classification

Rising Blade Decoration.

BRONZES

-fr

chief ves-

current in this period are the

Ting, including the Square Ting,

Huai

Pattern,

an element of

Chiieh and

style decoration.

Ku and

Tsun, Fang-i,

related

its

forms Chi a,

Chiao, and the Kuang; these con-

Band,

Scale

Chou

Middle scales

an

element

decoration,

in

the

being arranged horizontally [5/].

Scarlet Bird.

Animals of

See

Shan Mirrors

are a type in which main element of decoration

resembles the Chinese character

is

after

'mountain'.

four

repeated

round the

which

Ting disappear

except the

all

(see the

appropriate

names

Karlgren

33

decorative motives, of which the

the Four Quarters.

shan,

Chou,

entries).

in bands.

the

tinue into the next period, Early

The element or

five

central loop,

most important are the t'ao-t'ieh, cicada, bird, whorl circle, hanging blades and rising blades, 9 types of dragon, circle bands, square with crescents, interlocked T's and various spiral motives, mostly of the

thunder pattern type.

For

details see the appropriate entries.

times

with the

long horizontal bottom stroke towards the centre. This type is

Sino-Siberian Ordos.

Style.

See

datable to the 4th and 3rd cen-

Sombre Warrior.

tury B.C.; they are never inscribed.

Animals of the Four Quarters.

See

[5?]-

Shang, the name, based on of the

first

historical

that

dynasty,

given to the style of the bronze art of the period c. 1500-1028 B.C.;

two

called

Yin by Karlgren

names

are inter-changeable) in his

PLATE 6. heads,

34

d]

BRONZES,

(the

a]

Spearheads of the Shang Dynasty were generally wide-bladed and of the socketed type. [6c]. After the Shang period the head takes

on

narrow

in

the

last

Preying Animal Motive,

Square with Crescents,

leaf

generally becomes

few b]

shape,

which

more

slender

centuries

Spoon,

e-f] S-Spiral Patterns,

c]

B.C.,

Spear-

g-h] T'ao-t'ieh.

30000

00000000000

Spiral

Horns

—T'ao-t'ieh

&

BRONZES

acquiring an elegance, which con-

sometimes wholly dispensed with

imparted by the

in this type; at other times the casting provides for inlay of gold,

ceals the strength

powerful central rib and the steep bevel of the edges. The sockets of those made just before and during Han times might be decorated and carry a small loop,

from which would or

plume

flutter a

copper, turquoise or mala-

silver,

chite, or

has

vives,

These

Horns,

an element of Middle Chou decoration occurring on free standing animal heads.

The

materials.

where

either

a

this

sur-

central

ring

known among

are well

Square with Crescents out of the four corners

Chou and Middle Chou

the centre.

periods.

are rather

short,

wide handle, usually

flat

ornamented; they originals

with

may

made of

a fairly

richly

be based

shell.

[8/].

is

essen-

square with large arcs cut

is

They

were not produced

vessels

the bronzes of the Shang, Early

on

lid,

before the Huai period.

tially a

Spoons

these

rectangular

handle, or four lugs at the corners.

tassel.

Spiral

combinations of two or

more of

there

[6d];

usually a small circular boss in

for this

'four-petal

origin

its

The Chinese name

motive is

is

ssu-pan hua-wen,

flower

pattern',

probably not

but

floral.

[6b].

S-spiral Pattern usually occurs

Spring and

Autumn

Annals, Period of. This term in connection with bronze design and decoration

is

no longer

current,

since the period covered

by

the

Annals does not coincide with a single style, but includes some pieces of Middle Chou style and some of the Huai style. The term is, however, still found in some Chinese publications and in older books in European languages.

Square Hu, hu

(q.v.)

a rectangular

with

ring

handles.

PLATE

7.

36

type of

mask-mounted Decoration

BRONZES,

a-d]

is

T

a

as

band of S-forms placed very

closely together; this

known

form; or

it

is

may

the best

occur

background Thunder Pattern

as a

variant in the

filling

known

(q.v.).

as

[6e, f]-

Ssu-pan Hua-wen. with Crescents.

Tai-Kou.

See

See

Square

Belt Hooks.

T'ao-t'ieh is the name of an animal mask motive. It is one of the most important decorative motives, associated mainly with

Shang and Early Chou, and occurs

;

ao-t'ieh.

PLATE

7

T'ao-t'ieh— Tiger Tally in