Securing the Harmony between the High and the Low: Power Animals and Symbols of Political Authority in Ancient Chinese Jades and Bronzes

Abstract

For decades scholars have been discussing the meaning, purpose, and function of the various styles of decoration found in jade and bronze objects produced in the period spanning the Neolithic to the Han dynasty. Max Loehr made a significant contribution to this discussion in 1953 when he made the first attempt to understand the nature and sequence of styles of bronze décor from the Anyang period (1300–1038 b.c .), which corresponds to the late Shang dynasty. Since then scholars have been divided by two different points of view. Taking one side are those who concentrate on the iconographical meaning of the figures represented on the surface of jades and bronzes, suggesting that ornaments are correlated with, and an expression of, a preexistent system of beliefs. On the other side are those who consider the nature and evolution of the sequence of designs and styles as an artistic sophistication that must be considered independently of any exterior motivation, such as a system of religious beliefs. This article aims to explore the purpose and meaning of jade and bronze decorations, particularly those representations of real and mythical animals as forms of spiritual and political empowerment. Through the examination of the nature and sequence of iconographic motifs interpreted as archetypal forms, this article demonstrates the existence of distinct moments for the meaning and purpose of jade and bronze ornaments. During the moments when spirituality and the sacred rituals are dominant and overlap political power, the use of jade and bronze objects decorated with power-animals are manifestations of a system of beliefs. On the other hand, during the moments when political power enlists spirituality and sacred rituals as instruments of sovereignty, the designs tend to be more inventive and sophisticated, corresponding to technological improvements. Consequently, iconographic motifs lose their spiritual meaning and purpose to an immanent sense of design within an artistic phenomenon.

Arts & Culture: Content, Context, and Pedagogy

“…Not only the rarity of the materials but also the need for specialized craftsmanship made bronze accessible only to privileged social groups. The casting technology and aesthetics of bronzes flourished in China during the Shang and Zhou dynasties (Loehr, 1953;Lopes, 2014;Shih, 1972). In ancient China, the ruling class considered worship and warfare as the most essential ways to both establish and maintain their governance.…”

“…As casting technology advanced in the late Shang dynasty, the decoration on ancient Chinese bronzes underwent stylistic changes, from thin relief lines to more-elaborate motifs and complex patterns covering most of the vessels (Gao, 1987;Loehr, 1953;Lopes, 2014). These complex designs then evolved into a rather simplified style of geometric patterns in the Zhou dynasty, with more inscriptions detailing the purposes of the vessels.…”

“…In addition to the technical advancement, changes in the social and cultural contexts regarding the placement of these ritual bronzes also contributed to the evolution of their ornamental designs. Whereas the Shang people invested their artistic sophistication in ancestor worship, people in the Zhou dynasty used their resources to demonstrate their political power and military achievements (Lopes, 2014). Many ritual bronzes from the Zhou dynasty come with inscriptions that record important historical events or recognize momentous accomplishments.…”

“…Scholars disagree about the meanings of the forms and patterns on ritual bronzes, primarily because of limited written evidence from the Shang and Zhou dynasties that would clearly identify their iconographic significance. Most scholars consider these forms and patterns, which are also found on many Neolithic jade and ceramic objects from ancient China, as representations of political power or of agents used to communicate with ancestral spirits (Allan, 2007;Chang, 1981;Hung, 2016;Kesner, 1991;Lopes, 2014). However, another group of scholars maintains that the forms and patterns on these objects are purely designs created from the imaginations of their makers and bear no symbolic meanings (e.g., Bagley, 1987;Loehr, 1953).…”

A Comparative Study of Contemporary Ceramic Sculptures between China and Bangladesh

“…The horse can be seen in Figure 1. In China, the horse was the symbol of property and power [21]. Ceramic artists also produce several camel statues.…”