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A jia is a ritual vessel type found in both pottery and bronze forms;it was used to hold libations of wine for the veneration of ancestors. It was made either with four legs or in the form of a tripod and included two pillar-like protrusions on the rim that were possibly used to suspend the vessel over heat. The earliest evidence of the Jia vessel type appears during the Neolithic Period (c. 5000–2000 BCE). It was a prominent form during the Shang and early Western Zhou dynasties,but had disappeared by the mid-Western Zhou. [1]
The vessels had a ceremonial function. They were decorated with varying geometric designs and zoomorphic motifs,possibly symbolizing varying religious beliefs. There are several theories as to the origin and meaning of the symbolic iconography. Early Chinese scholars extended their traditional beliefs as regarded the symbolic meanings of the designs and motifs. They believed them to have a religious,cosmic,or mythical function. The Western historian Max Loehr has argued that the designs and motifs are ornamental and have no inherent symbolic meaning. There are no extant texts or sources contemporary with the creation of the Shang bronzes that offer descriptions or explanations of the symbolic meanings of the Jia vessels. [2]
The Jia bronze type functioned as a wine vessel. [3] The bronze vessels were used at feasts as drinking vessels;they were exhibited in ancestral halls and temples,and most prominently buried in tombs for use in the afterlife. These bronze vessels were not for everyday use,as the ancients typically used lacquerware or earthenware for eating and drinking. [4] The Shang were practitioners of a form of ancestor worship,which incorporated ritual sacrifices. They would make their offerings based on a calendar of ritual sacrifices. The sacrifices would include the presentation of food and drink,depending on the vessel type. The bronze vessels were used to prepare,and or present these offerings. [5]
When it comes to the décor of the jia vessel,simple designs are most common. The lack of complex design is due to the jia vessel being one of the oldest vessel forms. As time progressed,vessel décor got more elaborate. While one simple band of décor was prevalent in early Shang times,towards the middle and late Shang periods more than one band of décor was more common. As the Zhou period began it was not unlikely to see a jia covered in ornamentation. The vessel shape changed to accommodate the change in decoration,and vice versa. When more elaborate designs are seen it is normally the taotie motif,or mask design. The taotie motif shows two dragon-like figures in profile,that together to form the taotie mask. Whorl circles were also a common decoration on the jia vessel. [6] The décor on the jia can be classified by Max Loehr's five styles of Anyang bronzes. Style I is classified by thin thread relief designs,they are described as being light and airy and consist of simple forms. Style II uses a thicker ribbon relief. It has incised ornaments and harsh and heavy forms. Style III has more of a curvilinear design where only the eyes of the figures protrude and uniform like patterns appear. In style IV the decoration becomes separate from the background,which normally is made of the thunder pattern. The motifs and pattern are flush with the surface of the vessel. Style V vessels have decoration in a very high relief. [7]
The form of the jia changed slightly through different cultural periods. The most common form consisted of two parts,a skirt and an upper section that flares out at the top. This form was developed based on older versions of the jia that which had hollow conical legs that opened to the lower bowl section of the vessel. These hollow legs were replaced by small slits in the early Anyang period,this allowed for bracing the core against the outer parts of the mold. Another variation on the shape of the jia is a rounded bottom and an almost spherical body. A jia with a flat bottom and no skirt has also been found and dated to a pre-Anyang time. After the Erligang phase the skirt was made less obvious and the silhouette appeared almost vertical. [8]
Inscriptions on jia vessels are typically found on the handles or pillars. Larger inscriptions are found on the belly of the vessel. Only a small percentage of jia vessel types have been discovered with inscriptions. [9] The vessel known as the Yayi jia,held in the Asian Art Museum of San Francisco,contains an inscription on the bottom portion of the vessel. The Yayi jia's inscription depicts the symbolic characterization of a man,and on top of his head lay a cross-shaped symbol. This vessel gets its name from the modern reading of this symbol:亞矣. The inscription Yayi appears frequently in late Shang bronzes;it is possibly a clan identification symbol. [10] The jia vessel from the Saint Louis Art Museum provides further textual insights into the function of these vessels. There are two characters located under the handle of the vessel. Max Loehr states that the two characters are qiu Yi,"fermented liquor,Yi." Loehr further states that when read together it appears to mean,"for libations for (father or ancestor) Yi." [11]
The origins of China's Bronze Age still remain unclear. Chinese historical writing suggests Xia was the first dynasty,preceding Shang,but no archaeological site has been conclusively linked to the Xia dynasty. The Erlitou site shows Shang culture at its primitive stage,retaining apparently Neolithic features. [12]
In 1986,four bronze jia vessels were found from Erlitou in Yanshi,Henan Province. This site is approximately dated to ca.1860–1545 BCE based on calibrated carbon 14. The vessels were cast by the piece mold method. One of them has decorations featuring three bands of continuous small circles around the waist. This motif appears on other vessels from Yanshi. [13]
The Zhengzhou Shang city was discovered 62 miles (100 km) east of Erlitou. Objects unearthed from the site of Panlongcheng represent the Zhengzhou phase. Stylistic similarities are seen from the two sites although Panlongcheng was not a very important city by then. Bronze vessels shared uniform styles across regions while later during Anyang phase outlying areas were diverging from the artistic tradition of central North China. [12]
Max Loehr suggests that bronze vessels during the Zhengzhou phase consist of three styles in their decor:style I is featured by thread relief which is incised in the model not on the mold;in style II,thread relief is replaced by ribbon relief which is carved in the mold not in the model;style III combines styles I and II with thunder patterns,quill patterns,and more bands of designs which are carved on the model not the mold. Jia vessels fit well into such categorization. The decorations develop from thread relief to ribbon relief with one or more vivid taotie mask according to how many sections they have. [8]
The Shang culture expanded early and vastly. So did bronze-casting technology,laying the basis for provincial bronze-using cultures distinguishable from the metropolitan style. Systematic excavations of Shang-era sites both within and outside the Shang cultural sphere have only recently begun. Bronze and jade objects are among the more frequent discoveries. Some are imports from workshops in metropolitan areas or faithful copies of metropolitan pieces. Others show radically different tastes. Areas that had strong ties with the court would have kept in better touch with the style of metropolitan fashions. [12]
An upsurge of activity at the Anyang site is evident during the long reign of Wu Ding,fourth of the Anyang kings. A rich corpus of oracle inscriptions from Wu Ding's court attests frequent sacrificial observances,during which the bronze vessels would have been essential.
One name that occurs especially often in early oracle bone inscriptions is that of Fu Hao. She was a royal consort,diviner,and military general. [12] Style IV and Style V of Anyang phase are seen in the two pairs of jia vessels in Fu Hao's tomb. In Style IV,images are raised in vivid relief. In Style V,images are raised up in high relief from the more flat thunder patterns in the background. Moreover,these jia vessels are square-sectioned,one of the distinguishing features of the Anyang Period. This fashion immediately faded away in Zhou. [8] The square forms in these jia vessels show a new aesthetic flavour.
During the middle to late Western Zhou period,changes in the ritual vessel types began to arise. The production of wine vessel types from the Shang dynasty,(jue 爵,hu 觚,jia 斝,fangyi,and gong vessel types),began to decline and would eventually disappear. The hu 壺was created at this time and would become the only vessel type used for wine rituals. [14] The change in vessel types from those of high quality and variety,to mass and uniformity,suggests a movement away from the ritual function of the vessels to a symbol of the owners status. [15]
Pottery Jia
Bronze Jia
H. 31 cm
H. 21.9 cm x W. 14.5 cm x D. 16.0 cm
H. 33 cm x W. 20.3 cm x D. 19.1 cm
H. 29.3 cm
H. 67 cm
Bronze Hou Mu Jia addressed to the queen (Hou) mother (Mu)
H. 66.5 cm
H. 29.5 cm
H. 75.3 cm x W. 38.1 cm x D. 31.8 cm
H. 40.6 cm x W. 25.1 cm
Bronze Jia
H. 46.5 cm
H. 28.2 cm
H. 32.4 cm x W. 26.7 cm
H. 25.4 cm x W. 4.0 cm x D. 15.2 cm
During the Ming and Qing periods, jia gradually became tea drinking vessels, as recorded in Dream of the Red Chamber.
Jade jia are frequently mentioned in poems and other literary works:
The Shang dynasty, also known as the Yin dynasty, was a Chinese royal dynasty that ruled in the Yellow River valley during the second millennium BC, traditionally succeeding the Xia dynasty and followed by the Western Zhou dynasty. The classic account of the Shang comes from texts such as the Book of Documents, Bamboo Annals and Records of the Grand Historian. Modern scholarship dates the dynasty between the 16th and 11th centuries BC, with more agreement surrounding the end date than beginning date.
Chinese art is visual art that originated in or is practiced in China, Greater China or by Chinese artists. Art created by Chinese residing outside of China can also be considered a part of Chinese art when it is based on or draws on Chinese culture, heritage, and history. Early "Stone Age art" dates back to 10,000 BC, mostly consisting of simple pottery and sculptures. After that period, Chinese art, like Chinese history, was typically classified by the succession of ruling dynasties of Chinese emperors, most of which lasted several hundred years. The Palace Museum in Beijing and the National Palace Museum in Taipei contains extensive collections of Chinese art.
The zun or yi, used until the Northern Song (960–1126) is a type of Chinese ritual bronze or ceramic wine vessel with a round or square vase-like form, sometimes in the shape of an animal, first appearing in the Shang dynasty. Used in religious ceremonies to hold wine, the zun has a wide lip to facilitate pouring. Vessels have been found in the shape of a dragon, an ox, a goose, and more. One notable zun is the He zun from the Western Zhou.
Ding are prehistoric and ancient Chinese cauldrons standing upon legs with a lid and two fancy facing handles. They are one of the most important shapes used in Chinese ritual bronzes. They were made in two shapes: round vessels with three legs and rectangular ones with four, the latter often called fāng dǐng "square ding (方鼎. They were used for cooking, storage, and ritual offerings to the gods or to ancestors.
The Erlitou culture was an early Bronze Age society and archaeological culture. It existed in the Yellow River valley from approximately 1900 to 1500 BC. The culture is named after Erlitou, an archaeological site in Yanshi, Henan. It was widely spread throughout Henan and Shanxi and later appeared in Shaanxi and Hubei. Most archaeologists consider Erlitou the first state-level society in China. Chinese archaeologists generally identify the Erlitou culture as the site of the Xia dynasty, but there is no firm evidence, such as writing, to substantiate such a linkage, as the earliest evidence of Chinese writing dates to the Late Shang period.
A guang or gong is a particular shape used in Chinese art for vessels, originally made as Chinese ritual bronzes in the Shang dynasty, and sometimes later in Chinese porcelain. They are a type of ewer which was used for pouring rice wine at ritual banquets, and often deposited as grave goods in high-status burial. Examples of the shape may be described as ewers, ritual wine vessels, wine pourers and similar terms, though all of these terms are also used of a number of other shapes, especially the smaller tripod jue and the larger zun.
The Taotie is an ancient Chinese mythological creature that was commonly emblazoned on bronze and other artifacts during the 1st millennium BC. Taotie are one of the "four evil creatures of the world". In Chinese classical texts such as the "Classic of Mountains and Seas", the fiend is named alongside the Hundun, Qiongqi, and Taowu.
From c. 1650 BC, elaborately decorated bronze vessels were deposited as grave goods in the tombs of royalty and nobility during the Chinese Bronze Age. Documented excavations have found over 200 pieces in a single royal tomb. They were produced for an individual or social group to use in making ritual offerings of food and drink to his or their ancestors and other deities or spirits. Such ceremonies generally took place in family temples or ceremonial halls over tombs. These ceremonies can be seen as ritual banquets in which both living and dead members of a family were supposed to participate. Details of these ritual ceremonies are preserved through early literary records. On the death of the owner of a ritual bronze, it would often be placed in his tomb, so that he could continue to pay his respects in the afterlife; other examples were cast specifically as grave goods. Indeed, many surviving examples have been excavated from graves.
A jue is a type of ancient Chinese vessel used to serve warm wine during ancestor-worship ceremonies. It takes the form of an ovoid body supported by three splayed triangular legs, with a long curved spout on one side and a counterbalancing flange on the other. Many examples have one or two loop handles on the side and two column-shaped protuberances on the top of the vessel, which were probably used to enable the vessel to be lifted using leather straps. They are often ornately decorated with taotie decorations representing mythical beasts. They are in effect a small Chinese equivalent of the ewer. The name jue is not original, but derives from the Shuowen Jiezi, a dictionary of the 2nd century AD.
A hu is a type of wine vessel that has a pear-shaped cross-section. Its body swells and flares into a narrow neck, creating S-shaped profile. While it is similar to you vessel, hu usually has a longer body and neck. The shape of hu probably derives from its ceramic prototype prior to the Shang dynasty. They usually have handles on the top or rings attached to each side of neck. Many extant hu lack lids while those excavated in such tombs as Fu Hao's indicate that this type of vessel might be originally made with lids. Although it is more often to see hu having a circular body, there also appears hu in square and flat rectangular forms, called fang hu and bian huArchived 2015-09-23 at the Wayback Machine in Chinese. In addition, hu often came to be found in a pair or in a set together with other types of vessels. As wine had played an important part in the Shang ritual, the hu vessel might be placed in the grave of an ancestor as part of ritual in order to ensure a good relationship with ancestor's spirit.
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