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.
