Читать книгу A History of China - Morris Rossabi - Страница 22

Other sources that provide information about the Shang include signs and actual writings on bones, pottery, and jade, but no doubt the most important are ritual bronze vessels. The bronzes reflect sophistication and advances in arts and crafts but also yield information on religion, social relations, and government. Some of these data derive from fragmentary and sometimes cryptic inscriptions on the bronzes. Unlike the bronze inscriptions of the next dynasty, the Zhou, the Shang artifacts are brief, none amounting to more than fifty Chinese characters. Nonetheless, they occasionally narrate the circumstances under which the bronzes were cast, for several were produced to commemorate military expeditions, gifts, or special rituals. Many were designed for ritual purposes and served as drinking vessels, food containers, or cooking implements on ceremonial occasions. Bronze craftsmen also fashioned musical instruments, chariots, weapons, and farm tools.

Figure 1.4 Bronze vessel bearing the taotie design, Shang dynasty. Ashmolean Museum, University of Oxford, UK/The Bridgeman Art Library.

In addition, the decorations on the bronzes may yield insights about the Shang ethos and religion. Descriptions of fantastic animals, which sometimes combined features of different animals, were characteristic of the motifs found on the bronzes. The so-called taotie mask is the most distinctive of these mythical figures. Readily recognized by its prominent and large eyes, which gaze directly at the observer, the taotie has puzzled scholars who have tried to understand its possible ritual or religious importance. Speculation on its meaning ranges from its use to protect humans to its identification as a grotesque, malevolent monster. What appear to be its jaws, as well as its horns and snout, give it a ferocious appearance, but its symbolic significance remains elusive. There are also variations in the depictions of the taotie in the Shang bronzes, and the eyes often are the only means to identify the creature. A number of other animals, including dragons, are represented, although once again their precise meaning is unclear.

The diverse shapes of the vessels, some of which derive from shapes of Neolithic pottery, and their decorations reveal the skill of the bronze craftsmen. Art historians have identified at least five stages of decoration, with each evincing a more elaborate style and more detailed decoration of the objects. The origins of the decorations and indeed of the high level of bronze casting are unknown, but the quality and the large number of bronzes indicate the presence of a sizable industry and skilled artisans. The artisans were favored in this social structure; for example, they lived in houses with floors of stamped earth rather than in the virtually underground residences of ordinary folk.

Along with a sophisticated bronze industry, the Shang also produced jade, ceramic, and lacquer objects. Jade carving developed in the Neolithic, but more jade artifacts have survived from the Shang. Jade knives, weapons, and jewelry, often with incised decorations of animals or simple geometric designs, have been found in many burial sites. Their appearance at burial sites may indicate that they had a ritual or religious significance. They may, for example, have served as offerings to the spirits or the ancestors. The bi ring, a disc in the shape of a circle, probably had such ceremonial associations and may have been used in divining the future. Some of the jade probably came from outside the core area of Shang culture, testifying to the development of commerce during this era. Lacquerware has also been discovered in some Shang tombs. Like the motifs on jade and ceramics, the designs on lacquer reveal an interest in the depiction of animals.

Figure 1.5 Cong (jade tube), Neolithic culture, 3300–2250 BCE. Freer Gallery of Art, Smithsonian Institution, USA/Gift of Charles Lang Freer/The Bridgeman Art Library.