The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a semi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.   « Less

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a semi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.This general type of Chinese burial art is known as mingqi. Mingqi were any of a variety of objects specifically created for interment in the tombs of elite individuals in order to provide for the afterlife. Here, we are witness to an elaborate procession. Perhaps even the funeral procession that carried the deceased into his tomb, where these painted terracotta figures were unearthed centuries later. Most likely, these works were dedicated to a member of the royal elite and we can imagine masses of citizenry lining up to catch a glimpse of this procession. Musicians play music, banging on drums and blowing flutes and horns (although there is no rider carrying a horn, one of them holds his hands in a posture indicating he once held this instrument). Other riders appear to be government officials, and still others, entertainers or family. One rider is accompanied by a monkey seated on the back of his horse. Another female rider holds a small bird in her hand. Perhaps the most charming rider gently carries a bundled baby in his arms. Both the horses themselves and the riders are colorfully painted in bright polychrome hues. While parades such as represented by this set were certainly not unknown in T’ang China, they must have been special occasions reserved for religious ceremonies or other such special circumstances. While this procession set may memorialize an event from jovial than funeral rites, their discovery inside a tomb reveals their connection with the afterlife. Perhaps this set was interred in order to welcome the deceased into the world beyond, where entertainers and musicians would greet him. - (H.773)   « Less

After almost four hundred years of civil war and division, Yang Jian succeeded in reunifying north and south under one authority, the Sui Dynasty. However, despite its brief  More »

After almost four hundred years of civil war and division, Yang Jian succeeded in reunifying north and south under one authority, the Sui Dynasty. However, despite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the cultural renaissance that would arise during the T’ang Dynasty. Reforms were introduced to wrest power out of the hands of the aristocracy, military, and Buddhist communities. The Confucianist system of selecting government officials from state schools, by means of rigorous examinations, was initiated. Perhaps their most significant program was the construction of the Great Canal, a project that facilitated the movement of people and goods across great distances, aiding in the reunification of China. However, the cost of the Canal bankrupted the empire and ultimately led to its dissolution, coupled with a failed campaign to conquer Korea. The rulers of the T’ang would capitalize on the infrastructure improvements of the Sui and establish one of the greatest empires in the history of China, following the footsteps of the Sui.This charming set of four horse and rider sculptures, covered in a crème glaze characteristic of the Sui Dynasty, depicts a procession of musicians and attendants. One rider bangs a drum that hangs off the side of his steed. Another blows on a long arching horn he carries in his hands. We can imagine the rhythmic tones of their music rising over the nose of the horses’ hooves hitting the ground. The other two riders appear to be attendants or court officials. This procession might have been a joyous occasion to entertain the crowd of onlookers while simultaneously demonstrating the resplendent wealth and power of the court. It is also possible that this procession was more somber occasion, leading to the burial place of a fallen leader. Discovered inside a tomb, this set clearly served an important purpose in the afterlife. We can imagine the deceased individual awaking in the next world to the tones of the musicians and the welcome of his official attendants. This gorgeous set of sculptures gives us a glimpse into the past, into the blossoming period of one of the great golden ages of human civilization. - (H.759)   « Less

Upon leading a victorious rebellion against the foreign Mongul rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty  More »

Upon leading a victorious rebellion against the foreign Mongul rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty in 1368. As emperor, he founded his capital at Nanjing and adopted the name Hongwu as his reign title. Hongwu, literally meaning “vast military,” reflects the increased prestige of the army during the Ming Dynasty. Due to the very realistic threat still posed by the Mongols, Hongwu realized that a strong military was essential to Chinese prosperity. Thus, the orthodox Confucian view that the military was an inferior class to be ruled over by an elite class of scholars was reconsidered. During the Ming Dynasty, China proper was reunited after centuries of foreign incursion and occupation. Ming troops controlled Manchuria, and the Korean Joseon Dynasty respected the authority of the Ming rulers, at least nominally.Like the founders of the Han Dynasty (206 B.C.- 220 A.D.), Hongwu was extremely suspicious of the educated courtiers that advised him and, fearful that they might attempt to overthrow him, he successfully consolidated control of all aspect of government. The strict authoritarian control Hongwu wielded over the affairs of the country was due in part to the centralized system of government he inherited from the Monguls and largely kept intact. However, Hongwu replaced the Mongul bureaucrats who had ruled the country for nearly a century with native Chinese administrators. He also reinstituted the Confucian examination system that tested would-be civic officials on their knowledge of literature and philosophy. Unlike the Song Dynasty (960-1279 A.D.), which received most of its taxes from mercantile commerce, the Ming economy was based primarily on agriculture, reflecting both the peasant roots of its founder as well as the Confucian belief that trade was ignoble and parasitic.Culturally, the greatest innovation of the Ming Dynasty was the introduction of the novel. Developed from the folk tales of traditional storytellers, these works were transcribed in the everyday vernacular language of the people. Advances in printmaking and the increasing population of urban dwellers largely contributed to the success of these books. Architecturally, the most famous monument of the Ming Dynasty is surely the complex of temples and palaces known as the Forbidden City that was constructed in Beijing after the third ruler of the Ming Dynasty, Emperor Yongle, moved the capital there. Today, the Forbidded Palace remains one of the hallmarks of traditional Chinese architecture and is one of the most popular tourist destinations in the vast nation.lazed sculptural tile are today considered one of the hallmarks of classical Chinese architecture. However, despite their popularity in modern times, they were relatively scarce until after the end of the T’ang Dynasty. Even then, during the Song and Yuan Dynasties, they were still infrequently used. It was not until the rise of the Ming Dynasty that glazed sculptural tiles became a popular decorative devise extensively employed in temples, altars, imperial palaces, and gardens. Beijing became the center of glazed architectural tile production during the Ming period, and colorfully decorated pagodas began to sprout up around this region. Eaves and entryways were decorated with vibrant sculptures that served both decorative and sometimes religious purposes.This glazed terracotta tile would have been one of the centerpieces in the decorative schemes of a Ming Dynasty temple. Brilliantly colored in blue, green, and ochre hues, this tile depicts an armored figure standing with his hands clasped together in meditation. He may be standing upon a bridge, for waves of water appear to flow over rocks below. It is clear from the edges that this work would have been joined with others on either side that would have completed the image. The subject matter, although not apparent, is most likely Buddhist, considering the nature of the temple. When we imagine the entire temple structure covered in such tiles, from the walls to the roof, the glory of Ming Dynasty China becomes apparent. - (H.742)   « Less

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new  More »

The T’ang Dynasty was an era of unrivalled wealth and luxury. The country was successfully reunified and the borders were expanded, pushing Chinese influence into new lands. Confucianism became a semi-religious instrument of the state; yet Buddhism continued to flourish, spreading into Korea and Japan. The arts reached new levels of sophistication. Poetry and literature flourished under the enlightened rulers. The Silk Road brought fortunes into China. Precious treasures were imported on the backs of camels from far away lands and bartered for Chinese silk, medicinal herbs, and pungent spices. T’ang China was a multicultural empire where foreign merchants from across Central Asia and the Middle East settled in the urban centers, foremost among them the thriving capital of Chang’an (modern X’ian), a bustling cosmopolitan center of over two million inhabitants. Foreign traders lived next to native artisans and both thrived. New ideas and exotic artistic forms followed alongside. The T’ang Dynasty was a cultural renaissance where many of the forms and objects we now associate with China were first created. Moreover, this period represents one of the greatest cultural outpourings in human history.During the Tang Dynasty, restrictions were placed on the number of objects that could be included in tombs, an amount determined by an individual's social rank. In spite of the limitations, a striking variety of tomb furnishings have been excavated. Entire retinues of ceramic figures - animals, entertainers, musicians, guardians - were buried with the dead. Many of the objects reflect Tang China's extraordinary amount of contact with foreigners, bringing into China influences that were then adapted and absorbed into its culture. One of these influences is apparent in this figure that corresponds to Buddhist warrior deities that assume a mortuary role in China but also serve as protectors of Buddhist temples. Known as "Protector of the Burial Vault" or "Protector of the Burial Ground," the fierce, this guardian stands atop a grotesque demon. This stance symbolizes the heavenly king's authority and responsibility as protector of the tomb. He wears a suit of armor that retains a remarkable amount of its original orange and white pigment. According to one Chinese tradition explaining their origin, the emperor Taizong when ill was threatened by ghosts outside of his room screeching and throwing bricks and tiles. When his general Jin Shubao (Chin Shu-pao) and a fellow officer came to stand guard the activity of the ghosts ceased. The grateful emperor had portraits of the two men hung on either side of his palace gates, and thereafter their images became widespread as door-gods. Originally, he would have brandished a weapon fabricated in a material such as wood that has deteriorated over the centuries. Looking unto his stern face and flaming hair and gazing into his fierce eyes, we understand why such works were intended to frighten away tomb robbers and evil spirits. Yet despite his intimidating nature, we are not repelled by him; instead, we are attracted to his artistic mastery and intriguing history. - (H.754)   « Less

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first  More »

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first began to settle down permanently, establishing villages and communities. However, without new technological innovations, this sedentary culture would not have been possible. Foremost among these discoveries were agriculture and tool-making, both of which enabled humans to transform their natural environment into a sustainable society. Many thousands of years ago, the area presently covered by modern China was made up of distinct regions each with their own unique cultural identity. Archaeologists have been able to discern some of these cultures from each other based upon the burial styles, architecture, and pottery, perhaps the most immediate remnant of this age.When Neolithic mankind began to settle in areas further removed from sources of water, transportation of this vital fluid became a foremost necessity. After unsuccessful attempts to create water resistant vessel from wicker baskets caked in mud, pottery was invented. The creation of pottery in China dates back as early as 6000 B.C. when villagers first realized that the earth around fires became hard and impervious to liquid. From this realization came the birth of pottery, fulfilling the practical necessity of water transportation and allowing civilization to expand. While pottery was created to answer a need, it soon progressed to be more than functional: it was also beautiful. While Neolithic vessels would have been used to carry water or to store grains, they are also spectacular artistic creations. The forms of the vessels, built up from coiled clay, are elegant and refined.The generic name for the Neolithic culture that created these vessels is Yangshao (3000-1500 B.C.). They are thought to have been the first to harvest silk from the silkworm, initiating a tradition the Chinese are still famous for today. While few specifics are known about the Yangshao culture, information gathered from archaeological excavations of tombs and tribal villages has provided a rudimentary vision of life in prehistoric China. Furthermore, the geometric paintings that decorate Neolithic vessels represent some of the earliest evidence of the origins and evolution of calligraphic writing in China. While these designs are purely abstract and in no way constitute a written language, the patterns, motifs, and application of paint all serve to give us insight into the intellectual and aesthetic atmosphere that would eventually foster the creation of Chinese symbols.as is typical of similar works, the upper half of this vessel is painted with abstract designs while the lower portion is left unfinished. The main motif of this vessel is a red circle filled with an “x” repeated across the upper shoulder. Black and red semicircles radiate outwards concentrically, intermittently interrupted by a vertical red line and a tower of red “x”s. Although this vessel was originally created to serve a practical purpose, today it is appreciated as a gorgeous work of art, treasured both for its beauty and history alike. - (H.778)   « Less

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first  More »

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first began to settle down permanently, establishing villages and communities. However, without new technological innovations, this sedentary culture would not have been possible. Foremost among these discoveries were agriculture and tool-making, both of which enabled humans to transform their natural environment into a sustainable society. Many thousands of years ago, the area presently covered by modern China was made up of distinct regions each with their own unique cultural identity. Archaeologists have been able to discern some of these cultures from each other based upon the burial styles, architecture, and pottery, perhaps the most immediate remnant of this age.When Neolithic mankind began to settle in areas further removed from sources of water, transportation of this vital fluid became a foremost necessity. After unsuccessful attempts to create water resistant vessel from wicker baskets caked in mud, pottery was invented. The creation of pottery in China dates back as early as 6000 B.C. when villagers first realized that the earth around fires became hard and impervious to liquid. From this realization came the birth of pottery, fulfilling the practical necessity of water transportation and allowing civilization to expand. While pottery was created to answer a need, it soon progressed to be more than functional: it was also beautiful. While Neolithic vessels would have been used to carry water or to store grains, they are also spectacular artistic creations. The forms of the vessels, built up from coiled clay, are elegant and refined.The generic name for the Neolithic culture that created these vessels is Yangshao (3000-1500 B.C.). They are thought to have been the first to harvest silk from the silkworm, initiating a tradition the Chinese are still famous for today. While few specifics are known about the Yangshao culture, information gathered from archaeological excavations of tombs and tribal villages has provided a rudimentary vision of life in prehistoric China. Furthermore, the geometric paintings that decorate Neolithic vessels represent some of the earliest evidence of the origins and evolution of calligraphic writing in China. While these designs are purely abstract and in no way constitute a written language, the patterns, motifs, and application of paint all serve to give us insight into the intellectual and aesthetic atmosphere that would eventually foster the creation of Chinese symbols.As is typical of similar works, the upper half of this vessel is painted with abstract designs while the lower portion is left unfinished. While the decoration of this vessel is fairly simple compared to the complex spiral motifs of many others, the rhythmic interplay of the concentric arches creates a beauty that is quite pleasing to the eye. Four bands are filled by these arches, while the neck is adorned by two bands of black crenulated motifs. Although this vessel was originally created to serve a practical purpose, today it is appreciated as a gorgeous work of art, treasured both for its beauty and history alike. - (H.805)   « Less

The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed  More »

The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed of peasants and some lower nobility to victory and established his own Dynasty in place, the Han. However, unlike the Qin, the Han would unify China and rule virtually uncontested for over four hundred years. It is during this time that much of what is now considered to be Chinese culture was first actualized. The bureaucracy started under the Qin was now firmly established. The vast lands of China were now under the firm grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. Ancient histories and texts were analyzed and rewritten to be more objective while new legendary myths and cultural epics were transcribed.The Han era can also be characterized as one of the greatest artistic outpourings in Chinese history, easily on par with the glories of their Western contemporaries, Greece and Rome. Wealth pouring into China from trade along the Silk Road initiated a period of unprecedented luxury. Stunning bronze vessels were created, decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. But perhaps the artistic revival of the Han Dynasty is nowhere better represented than in their sculptures and vessels that were interred with deceased nobles. Called mingqi, literally meaning “spirit articles,” these works depicted a vast array of subject, from warriors and horses to ovens and livestock, which were buried alongside the dead for use in the next world, reflecting the Chinese belief that the afterlife was an extension of our earthy existence. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23-220 A.D.) with a brief interlude. Towards the end of the Western period, a series of weak emperors ruled the throne, controlled from behind the scenes by Wang Mang and Huo Guang, both relatives of empresses. They both exerted enormous influence over the government and when the last emperor suddenly passed away, Mang became ruling advisor, seizing this opportunity to declare his own Dynasty, the Xin, or “New.” However, another popular uprising began joined by the members of the Liu clan, the family that ruled the Han Dynasty, the Xin came to a quick end and the Eastern Han was established in its place with its capital at Loyang (Chang’an, the capital of the Western Han, was completely destroyed).However, even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was unable to recreate the glories of the Western Period. In fact, this period can be characterized by a bitter power struggle amongst a group of five consortial clans. These families sought to control the young, weak emperors with their court influence. Yet, as the emperors became distrustful of the rising power of the clans, they relied upon their eunuchs to defend them, often eliminating entire families at a time. During the Western Han, the Emperor was viewed as the center of the universe. However, this philosophy slowly disintegrated under the weak, vulnerable rulers of the Eastern Han, leading many scholars and officials to abandon the court. Eventually, the power of the Han would completely erode, ending with its dissolution and the beginning of the period known as the “Three Kingdoms.”This Chinese money box dates from the Han Dynasty. Modern examples in wood testify that these ancient “piggy banks” have been part of Chinese culture for well over two thousand years. During the Han Dynasty, such chests would have likely been made out of wood, or in the rarest cases, for the wealthiest individuals, bronze. The gorgeous green glaze of this terracotta box recalls similar works in bronze, and the glaze has acquired a beautiful, soft iridescent patina over the ages. Commonly referred to as “silver frost,” this iridescence is the result of wet and dry periods in a tomb whereby the clay dissolves the lead glaze and redeposits it on the surface, where it hardens. A testament of age, this patina is also admired by collectors for its charming aesthetic qualities, similar in effect to mother of pearl.Perhaps the most charming feature of this box is also the most practical, a little removable lid, complete with handle and hinges rendered in low relief, that allows access to its precious contents. The surface is dotted with tiny bosses that probably imitate a feature of the real life chest this terracotta version imitates. Although this vessel would have functioned as a money box in life, it was found discovered buried in a tomb. Such a work might have originally been buried containing coins and jewels inside, to be used by the deceased in the afterlife. A symbol for the bounties of life, for timeless wealth and eternal prosperity, this ancient treasure chest would have represented the riches to be experienced in the afterlife. Today, this box is not only a gorgeous work of art, treasured for its history and rarity; but also a stunning reminder of the richness and luxury of the Han Dynasty, both in this world and the next. - (H.829)   « Less

The Yuan Dynasty was established by Kublai Khan, the grandson of Genghis Khan, upon relocating the capital of his empire from Mongolia to Beijing. The Forbidden City was  More »

The Yuan Dynasty was established by Kublai Khan, the grandson of Genghis Khan, upon relocating the capital of his empire from Mongolia to Beijing. The Forbidden City was constructed, a relative oasis of Mongolian culture in the heart of China. While the Mongol elite retained their native language and customs, they did adapt the Chinese system of bureaucratic government and cemented the authoritarian rule of the emperor. Although they were unaffected by Chinese culture, the Yuan did little to stifle the native traditions and beliefs of their subjects. Buddhism continued to flourish, although the monasteries received little funding from the state. In fact, during the Yuan Dynasty, China first began to open up to foreigners. Christian and Hindu missionaries were established in Beijing and Marco Polo made his famous journey during the Yuan era. While the Chinese never accepted the Yuan as a legitimate dynasty, instead viewing them as foreign bandits, the Mongolians rebelled against the Beijing Khans for becoming, “too Chinese.” In the end, the Yuan Dynasty had the shortest duration of the major Chinese Dynasties, lasting little more than a hundred years.The historical figure, Buddha Gautama Sakyamuni is the Buddha of compassion who, having achieved the highest evolutionary perfection, turns suffering into happiness for all living beings. Born around 560 B.C. somewhere between the hills of south Nepal and the Rapti river, his father was a Raja who ruled over the northeastern province of India, the district including the holy Ganges River. The young prince was married to Yashoda when he was about 17 years old and together they had a son named Rahula. At the age of 29, he left his life of luxury, feeling compelled to purify his body and make it an instrument of the mind by ridding himself of earthly impulses and temptations. Chinese Buddhist art is heavily influenced both by earlier Indian examples and the stylistic tendencies of the Central Asian cultures who brought the religion into China.Here, the Buddha is portrayed as a youthful prince with a round, full face, suggestive of his spiritual fullness and inner self-satisfaction. An inner calm and complacency is visible on his face and in his sweet smile. Tight curls of hair cover his head and ushnisha, the symbol of his infinite wisdom. His elongated earlobes droop down, the sagging caused by wearing heavy earrings as an infant, reflecting his royal origins. The urna, or “third eye,” is represented by a small bump in between his eyebrows, is also symbolic of his nobility and enlightenment. This fragment of a head was most likely originally part of a full-figured sculpture that once revered inside a temple or shrine. He appears to look down upon us with his inlaid eyes, suggesting that the work might have been raised upon a pedestal structure. The mystical energy and divine wisdom of the Buddha radiates from within this sculpture. The contemplative wisdom of the Buddha shines through the stucco and warms our spirits. - (H.693)   « Less

This striking bronze vase was made during what many consider to be China’s Golden Age, the T’ang Dynasty. It was at this point that China’s outstanding  More »

This striking bronze vase was made during what many consider to be China’s Golden Age, the T’ang Dynasty. It was at this point that China’s outstanding technological and aesthetic achievements opened to external influences, resulting in the introduction of numerous new forms of self-expression, coupled with internal innovation and considerable social freedom. The T’ang dynasty also saw the birth of the printed novel, significant musical and theatrical heritage and many of China’s best-known painters and artists.The T’ang Dynasty was succeeded in 618 AD, when the Li family seized power from the last crumbling remnants of the preceding Sui Dynasty. This political and regal regime was long-lived, and lasted for almost 300 years. The imperial aspirations of the preceding periods and early T’ang leaders led to unprecedented wealth, resulting in considerable socioeconomic stability, the development of trade networks and vast urbanisation for China’s exploding population (estimated at around 50 million people in the 8th century AD). The T’ang rulers took cues from earlier periods, maintaining many of their administrative structures and systems intact. Even when dynastic and governmental institutions withdrew from management of the empire towards the end of the period – their authority undermined by localised rebellions and regional governors known as jiedushi –the systems were so well-established that they continued to operate regardless.The artworks created during this era are among China’s greatest cultural achievements. It was the greatest age for Chinese poetry and painting, and sculpture also developed (although there was a notable decline in Buddhist sculptures following repression of the faith by pro-Taoism administrations later in the regime). It is disarming to note that the eventual decline of imperial power, followed by the official end of the dynasty on the 4th of June 907, hardly affected the great artistic turnover.The current piece is a case in fact. While technically a utilitarian object, this vessel has been transformed into an artistic masterpiece by careful manipulation of the raw material combined with extravagantly imaginative design. The body of the vessel is cast in an amphoriform shape, with a plain flat base swelling gracefully to a globular midsection, nipped sharply in at the shoulders (where the second section is attached) and narrowing to a fine, constricted neck with an angular lipped rim. The handles are rendered as a pair of elongated, writhing dragons, their mouths biting the edge of the rim, arching their backs in a flurry of tails, crests and wings to re- attach themselves at the shoulders of the vessel. Their bodies are clad in tiny relief scales, with other details such as their talons also picked out in exquisite crispness. This is a perfect contrast of serenity and dynamism, which makes for a stirring and attractive composition.The role of this vessel is uncertain. It was probably intended for wine, or just for decoration. As for its social status, the mode of construction and the decoration are in themselves indicative. Large bronze vessels were always prestige pieces, as they were difficult to make, and the raw materials were very expensive. The quality of the finish is also very high. The dragons, finally, imply a high level of importance for the vessel and – presumably – its intended owner, as these mythical beasts were the most important and prestigious symbol of imperial China. This is a truly outstanding piece of ancient Chinese art, a credit to any serious collection. - (H.856 (LSO))   « Less