With the increase of ancient bronze data, the collection and research of the advancement, compared with other bronze civilizations, it is more and more prominent that the ancient bronzes of the Central Plains are outstanding and unparalleled. Its characteristics are first manifested in the strange and complex shape, but poor practicality; secondly, in the unique, gorgeous and even intricate decoration and ornamentation, the motif pattern has never appeared in other civilizations, and recent research has revealed that many of them were originally magnificent and colorful. Finally, the production technology to achieve functional and stylistic requirements is very different, with the mud fan block model method as the exclusive process, there is almost no forging and forming process that other civilizations usually use or even give priority to, the casting method that can be determined is relatively small, and the technical route is very different; casting has become the main way to make complex utensils and large utensils, and the process difference with other civilizations with riveting and welding as the main means is also quite obvious. In this context, high tin and high lead bronze have become the mainstream of ancient bronze materials in the Central Plains, full of characteristics. How to recognize these characteristics and reveal their profound connotations? What is the correspondence between bronze style and craftsmanship? What role does the caster play? How do process factors play in bronze dating and origin studies? How are bronze vessels related to previous pottery? These problems have gradually become an important topic in the study of bronze ware in the Central Plains. Such a study requires a large number of case studies in the first place, and this article is an attempt to focus on a limited number of aspects of style and craftsmanship and its source flow.
The object of study in this paper is the bronze amphora of the pre-Shang period. The phase adopted is to divide the Shang Dynasty into two sections, the former section includes the early Shang and the Middle Shang, and the latter section refers to the Yin Xu period. In view of the long-term use of the five tombs of Xiaotun in the early years as the early remnants of the Yin Ruins, and the recent excavations and studies in Huanbei have classified them as the late Middle Shang Period, the four-stage division of the original Yin Ruins can be adjusted accordingly to the beginning of the Wuding migration of Xiaotun as the beginning of the Yin Ruins, which is divided into three periods: early, middle and late.
The early Shang binaural bronzes discussed in this article are small in number but widely distributed, and the existing archaeological and bronze studies have inconsistent understanding of their age and properties, but their respective bases may not be self-consistent and reasonable. Of course, judging the relationship between early and late artifacts according to which and what kind of style factors of specific artifacts is also a problem of lack of research. The relationship between the specific artifacts and the environment of the excavated units, the relationship with the co-produced artifacts, especially the relationship with the pottery that is usually used by archaeologists, and the entanglement in the bronze dating era, although Yue Hongbin has a preliminary discussion [1], the follow-up research is still quite limited, and it has yet to be promoted from many angles. In addition, the relationship between bronze craftsmanship technology and bronze dating has rarely been involved in the past, and although there have been more attempts [2] recently, more falsification, criticism and promotion are needed.
In addition, the study of casting land, which is closely related to the bronze age, has only received attention in recent years, and the craftsman genealogy of the special craft on which it relies, the adaptability, flexibility and flexibility in technology, art theory, methodology and its margin are all problems that need to be constantly explored. Of course, the phenomena revealed by the meticulous examination and investigation of the utensils, and the resulting new understanding and understanding of the function of the utensils, also need to be placed in the context of the idea of burial, ritual or process rumination and criticism.
In the pre-Qin literature, it may be that the Book of Poetry is the first to mention Gui. From the "Chen Feed Eight Gui" ("Xiao Ya Logging") it is known as a container, and the Eastern Han Xu Shen", "Shuowen Jiezi": "Gui, Huang Ji Fang Ware Also", said that Gui is a square container containing grain, the texture is unknown. It is said to be far from the commonly recognized bronze gui, or reflects that there is no bronze gui in the Eastern Han Dynasty. In fact, the Oracle already has "Gui", but the number is limited, or it means that Gui is not the main container in Yin Shang. According to the Oracle Dictionary, gui is written as follows in each issue:
Phase 1: (B 881)
Phase II: (Deposit 1.1467)
Phase III: (Ning Yi.231), (987)
Phase V: (Jing 5080)[3].
The specific strokes of each period may change, and the structure has been quite stable. Jin Wen inherited the oracle bone form, which has changed very little over the centuries, and the example of the Yin Zhou Jin Wen Integration is cited as follows:
From the composition of the "簋" character in the above bronze inscription, there is no deviation related to "gold", indicating that the oracle bone is followed. Probably by the middle and late Warring States period, Gui had changed its shape and material, and even disappeared, so Xu Shen's convulsiveness in "Shuowen Jiezi" was naturally not surprising.
Obviously, the early paleography did not give the shape and texture of the gui, and the later character books still added errors, so that the Jinshi scholars of the Song Dynasty regarded the Jinwen Gui character as "Dun", and it was not until the Qing Dynasty Qiantuo (1744~1806) that it was examined as "Gui", and pointed out: "The ancient Gui was either made of bamboo or tiles, so bamboo dishes were used together." This is changed to a bamboo dish and removed from the fold"[5]. Gui became the main instrument in the Western Zhou Dynasty, and after that it was often paired or formed into a column with ding, so according to its shape, a class of utensils was called Gui. The basic shape is a basin-shaped abdomen, with two ears on the outer wall, four ears in individuals, three ears in very few, and a number of earsless. The shape of the ear is different from the complex and simple, but it is basically "C" shaped, with different accessories. The bottom circle, the lower circle of feet, high or short, and the person who places the circle foot on the square seat. As for the basin-shaped body, the multi-circular section is very rarely a square or oval section, but the curvature of the abdominal wall and the depth of the abdomen change more, and Zhu Fenghan has summarized [6].
After the rise of archaeology, according to the shape of the vessel, the closest person was also called Gui, so that some pottery from the Neolithic era was included, making it a huge system. The shape and craftsmanship are directly related to the age and origin of the utensils. Style analysis is a common method of study by archaeologists, art historians, and antiquarians. As far as bronzes are concerned, representative studies such as Yue Hongbin and Zhu Fenghan.
Yue Hongbin studied the Yin Ruins Bronze Gui, and very carefully divided the 54 pieces of the 59 samples into four types A, B, C and D, 1 type C and D, and 21 pieces of type A divided into three subtypes of a, b and c, with three, two and three formulas, and the evolution law of each was:
Aa and Ab, the caliber from smaller than the abdominal diameter to greater than the abdominal diameter, the abdomen from deep to shallow, and the circle foot from short to tall;
Ac, in addition to the abdomen from dark to shallow, the ears from five droops to rolled earlobes, and then to rectangular large droops.
The 31 pieces of type B are divided into two subtypes, a and b, each with three types, and the evolution law of each is:
Ba, the apparatus changes from tall to short, the abdomen changes from deep to shallow, and the circle foot changes from short to tall;
Bb, the ears change from uninvited to droopy, and the circle feet change from short to tall .[7]
Zhu Fenghan systematically discussed the bronze gui, dividing the Shang and Zhou period gui into five types, and the A type had two subtypes, the former having five subtypes; the B type was divided into three subtypes, Ba and Bc each had two styles; type C had three subtypes, type D was divided into two subtypes, four and two styles, and type E had two styles; but it did not include the small curly ear gui. Even when discussing the Panlong City Bronze Ware Group, it did not pay attention to the LZM1:5 of Lijiazui and the YWM11:13 of Yangjiawan Gui, but only pointed out that the two tombs were dated in the first and second stages of the second phase of the upper stage of Erligang, respectively. Although the two-eared grate is not involved in the Chenggu Dragon Head Fire Knot Cellar, it is pointed out that its age is the second stage of the upper layer of Erligang, that is, the Baijiazhuang period.[8]
This article is an analysis and discussion of a pair of bronze grates decorated with a pair of small curled ears in the early Shang Dynasty. Due to the long-term lack of attention to them, their era is often treated in a large and large way, which is inevitably biased, and their craftsmanship and casting are rarely discussed. This paper collects five pieces of gui, first carefully analyzes their structural and decorative style factors, then analyzes their casting process, and then constructs their internal relationship and relationship with related artifacts according to the style and process factors, and ranks according to different factors to understand which style factors and craft factors have the characteristics of the times and which may be the occasional presentation of the craftsman's personality. Finally, we will trace back to the origin and discuss the origin of the southern style artifacts.
1. Huangpi Panlongcheng binaural
Huangpi Panlongcheng is a very important Shang cultural site, which is generally believed to be the result of the expansion of the Erligang culture of the Central Plains to the south, which continued into the Middle Shang Period.[9] The Panlongcheng archaeological excavation report divides the site into seven phases, the first three periods are equivalent to the Erlitou culture between the second and third phases to the four and the Erligang period, and the last four periods belong to the Erligang stage. Three bronze guises have been unearthed from the tombs at the site, two from the tomb of Li Jiazui, one without ears and one with two ears, and one from the Tomb of Yangjiawan[10] In this article, two amphora are discussed.
1. Li Jiazui binaural Glyph LZM1:5
Lijiazui Gangdi is more special in the Panlong City ruins, where 30 ash pits and 4 tombs were found, but only M2 was officially excavated, and the other 3 were cleaned up after destruction. The tombs are large in scale and rich in excavated relics, and are the highest-ranking group of tombs with obvious layout planning at the same stage in Panlong City. [11] Dating from the fourth and fifth stages of Panlong City, some of the ash pits in the site are thought to be related to sacrifices, while others date back to the seventh period.
Lijiazui M1 was scheduled in the fifth phase of Panlong City, and 22 bronze ceremonial vessels were unearthed, which is the largest number of bronze artifacts excavated from the tombs before the Yin Ruins known so far. One of the amphora LZM1:5 has a height of 17.4, a diameter of 22, a diameter of 16.3 cm, and a weight of 2.8 kg (Fig. 1). The mouth is narrow, the oblique flat edge is wider, the visual is open, the lip is thick, and the drum is slightly outward along the lower abdominal wall and then retracted out of the bottom. The neck wall is relatively straight, decorated with two convex chord patterns, and the thickness of the lines is uneven, and the parallelism is different. The ventral surface is decorated with a wide stripe, the theme is the animal face pattern, the style belongs to the flat broadband line, with a thin convex string pattern on the upper and lower sides, and another convex string pattern under the strip. The bands are divided into three equal groups, the middle of each group is a beast face pattern, and a large stripe is placed on each side of the stripe, which is about half the size of the animal face stripe, and may form an abstract animal face pattern with another set of crests adjacent to it. The composition of the animal face pattern is not very complete and clear, what is recognizable is that the nose head is against the lower bar of the stripe, the two sides are hooked with nose wings, and the mouth of the nose looks like a deep grin, revealing a shark-like jagged row of teeth, and facing the stripe. The middle of the nose is a narrow and short nose bridge, with longitudinal stripes and vertical knife patterns on both sides. A pair of "Chen" glyph-shaped large eyes are far apart, and the hemispherical eyeballs are not perfectly round and inconsistent, but they are quite prominent. The outside of the eye may be a narrow striped body that extends outward and then curves upwards, and the tail is rolled back inward. The forehead and eyes are crowned ornaments, shaped like multi-forked antlers, with vertical like a vertical knife, curved like a branch, or an animal face based on a stag, but no ears (Fig. 2). The so-called crest outside the animal face pattern is more abstract, whether the crest is in doubt, or the original form of the crest. Its shape is like a curved ruler, along the body and surface layout of the animal face, the line type is the same as the animal face, and there is an intersection with the animal face on the face. Only one of its protruding eyeballs is recognizable, with no distinction between the mouth, nose, ears, horns, and body, but it is roughly symmetrical with the adjacent motifs, which together appear to be an inverted abstract animal face pattern (Fig. 3). Both animal faces are quite primitive and belong to the Anyang II type divided by Luo Yue (Max Loehr, 1903-1988).
The bottom of the basket is slightly rounded, and the lower is connected to the circle foot. The walls of the circle foot are nearly straight, divided into roughly equal upper and lower sections, the upper section is slightly constricted, and the three perforations are all laid, two of which are nearly "ten" shapes, one is irregular, and a convex chord pattern runs through them from the middle. The holes are small on the outside and large on the inside, indicating that the mud core that forms the hole is brought by the circle foot core and combined with the fan on the surface of the circle foot. The lower section of the circle foot is thickened, the inner and outer walls are phototropic, and the bottom edge is flat (Fig. 4).
There are clear seams on the group boundaries of the three groups of ornaments, which are vertical fine yang lines, which should be from the mouth along the onshore edge of the circle, but there is no convex string pattern that breaks the neck and abdomen, or the parting surface of these models has been treated, or the shawl seams have been removed after fine polishing after casting, and micro-trace investigation is required to confirm. These drapes indicate that the abdomen is three-point range.
This pair has two "C" shaped ears, which are the shape of the head of the beast, large and wide on the top, and thin and flattened on the bottom. The head of the beast starts from the neck, and there is a gap with the neck wall and the lip edge, the two convex string patterns are superimposed but not on the stripe, and the beast faces outward, and the sides are obliquely flat, and the cloud pattern is hooked. The mouth of the animal face is not clear, the nose wings are convex and hooked, and the nose tip and nose bridge are hooked and curved. A pair of "subject" glyphs protrude hemispherical eyeballs. The forehead is shaped with a diamond shape and the upper vertical handle is crowned. The crown is flanked by a pair of large ears with wide ear chakras, a pronounced cochlea, and a flush top and rim. From under the mouth of the animal's head, it is like a band-like tongue, with four longitudinal lines hooked up and curved downward in the middle of the stripe (Fig. 5). The head of the animal has hollow ears, and the neck is convex; the mud core in the ear is still there, and its walls are thinner; and the lower part of the ear is slightly grooved (Fig. 6).
The other ear is significantly spilled with copper at the junction of the neck and abdomen, superimposed on the instrument table (Figure 7), and the middle is weak. These phenomena indicate that the ears are cast separately, and the ears are superimposed on the abdominal wall, indicating that the ears are cast posteriorly [15]. The more important phenomenon is in the inner wall of the abdomen, corresponding to both ears, three nail-shaped protrusions arranged in the shape of inverted "pins" (Figures 8 and 9), all of which are the "rivet heads" of the cast riveting type after Hua Jueming and others have studied the division of casting. The specific production is first cast in the belly, and three process holes are pre-cast at the ear. When making the mold of the ear, there are three riveted cavities on the inner mud core of the abdomen, and the ventral part is composed of a face-on model, two side fans and an ear core of the ear; when the mold is assembled, the process hole is in the cavity; when pouring, the bronze flows through the cavity, the process hole and the cavity of the ear filled with rivets, and after solidification, the ear is firmly cast on the abdominal wall [16]. X-ray imaging of the bottom showed that the mouth, abdomen, and hoop foot of the gui were not perfectly rounded, the lower abdomen was slightly thinner, and the bottom wall thickness was inconsistent and slightly different; the bottom gasket was quite clear, the boundary was stomata, and four gaskets were used in the lower abdomen, which were basically arranged (Fig. 10) [17].
For the casting process of this gui, in the early years, it was believed that "it should be cast after the attachment is split and then cast in the whole body", which means that the ears are cast first [18], which is obviously a misjudgment. Later, Hua Jueming and others pointed out that the gui was known at that time as "the earliest bronze device using the casting method" "the body was cast first, the ear was connected later, and it belonged to the riveted casting of thin-walled parts in the post-casting method", and further compared the earless guise LM2:2 excavated from Lijiazui in Panlong City, pointing out that the latter was earlier, and the casting occurred between the two. "The casting method is developed from the recasting of the device, and the earliest may be that in the Erligang period, the riveted post-casting method was used to add casting ears to the thin-walled grate, and the various parts of the grate were connected by the method of multiple castings, such as the copper stalk from the tomb of Lijiazui No. 1 in Panlong City. Later, in the production of the axe and the knight pillar button, the tenon-type first casting method was adopted. In the early yin ruins, the casting of accessories such as the hook on the thicker wall, the post-casting method of the mortise and mortise type, has been greatly developed. [19] Robert W. Bagley and other scholars also noted this, and considered the Casting of The Panlong City Gui Amphora to be the earliest example of partial casting. This rivet head design is to strengthen the combination of the rear cast ears and the abdomen, the rivet head is irregular in shape, and the surface is phototropic.
Hu Jiaxi et al. discussed the casting process of this gui, pointing out that "the gate setting of the gui body is still on the circle foot, and the three gates and pores of the gui lug are reserved at the junction of the gui body and the gui", and gives a schematic diagram of the post-cast gui lug (Fig. 11) [21].
Hu et al.'s analysis is correct, but the schematic diagram shows that the post-cast binaural pouring from the inside of the abdomen lacks a basis, not only the "rivet" does not find any runner marks, but also, given the small operating space in the abdomen, the feasibility of the operation is doubtful. In addition, the "reserved stomata" mentioned in the text is not known.
The shape, structure, ornamentation and casting process of this piece are as rich and novel as described above. In addition, it is worth noting that its configuration relationship, the round bowl-shaped body layout of three groups of ornaments, the volume of each group of ornaments is not large, so the motif animal face pattern on both sides of the filled "夔 pattern", adjacent two motifs seem to constitute an inverted abstract animal face pattern, its pattern is the same as the vast majority of circular instruments in the early Shang period, that is, the Erligang stage, such as zhengzhou Xiangyang Huimin Food Factory excavated from the large mouth folded shoulder Zun XSH1:3, Zhengzhou Shangcheng C8M2:1, Panlong City Lijiazui unearthed Zun LZM2:75 and Pan LZM2:2 and so on [22]. However, this pen should have a pair of animal head ears, making it difficult to symmetrically and balance the attachments and ornaments.
2. Yangjiawan binaural YWM11:13
Yangjiawan is the largest hill in the Panlong City ruins, 500 meters long from east to west, 350 meters wide from north to south, 46 to 49 meters above sea level, and also the largest area of the site block, the thickest cultural accumulation of up to two meters, the connotation is also the most abundant, including the Shang Dynasty tomb sites are all over it, as many as 22 tombs have been found, although there are as early as the third period, but most of them are concentrated in the sixth and seventh periods. The newly discovered buildings and tombs suggest that this was the late center of the Ruins of Panlong City.
The tomb YWM11, discovered and cleaned in the winter of 1989, is located on the southern slope of Yangjiawan and is a rectangular vertical cave tomb of 2.5 meters × 1.4 meters, with a direction of 20 degrees, the tomb mouth is 1.2 meters from the surface, and 10 stones are piled up. The burial tools have been completely decayed, it is speculated that there are coffins and rafters, and it is known that they use vermilion paint on black or brown primers to paint patterns such as animal faces, clouds, triangles and stripes, but there are no human bones and the burial style is unknown. The excavation report is based on the bone slag in the clay urn in the tomb, and it is speculated that the owner of the tomb was buried in it. There are two martyrdom pits at the bottom of the tomb, and the burial items are placed in four layers of soil on the rafters, 35 pieces of bronze, 9 pieces of pottery, 4 pieces of jade, and 3 pieces of stone tools, turquoise tools and bone tools. There are also 17 bronze fragments and 6 bronze fragments on the rafters, which are marked by cinnabar and carved plates on the upper and lower sides.
The amphora YWM11:13 was excavated above the south waist pit of the tomb, with a height of 18.4, a caliber of 21.2, a diameter of 15.4 cm, a weight of 2.35 kg (Fig. 12), and a volume similar to that of Zun LZM1:5. This piece is also a mouth, wide along the micro-arc, rounded lip, visually more open mouth (Fig. 13). Arc the drum outward along the lower abdominal wall, until the ventral arc harvests the bottom, and the lower circle foot is connected (Fig. 14). The neck is not obvious, decorated with two convex chord patterns, and the height, width, narrowness and parallelism are not regular enough.
The upper abdomen is also decorated with a stripe of animal face, which is composed of the same three groups of ornaments, and the motif of each group of ornaments is the filling pattern on both sides of the animal face pattern, which is unfolded in the form of wide lines tiled, and the upper and lower sides are edged by convex string patterns, but its width and narrowness are more uneven. The animal in the center is larger, with a wide nose and lower bar, a narrow and short nose bridge with a longitudinal stripe in the middle, and a deer-framed crown on the upper part. The nose is flanked by a deep grin on both sides, revealing serrated teeth that are connected to the streaks on the outside. The sides of the nose are lined with knife patterns, and then the "subject" glyph-shaped eyes are set out, and the hemispherical round eyeballs are protruding in the middle. Outside the eye is the narrow body of the beast, which curves upwards to the sides and rolls back slightly at the end of the upper railing. What is difficult to understand is the part outlined by the cloud pattern on the eye, if there are angles that arise from the forehead to the upper sides of the two sides, almost "S" shaped snaking upwards and then stretching and then folding down, and the corners are slightly checked back (Figure 15). On both sides of the animal face pattern, there is an almost triangular abstract "hammer pattern", full of curved cloud patterns, eyeballs are rounded, so they cannot be recognized except for the eyes, but they generally correspond to the adjacent "hammer pattern" left and right, which can constitute an abstract animal face pattern (Figure 16), and the same as the former Li Jiazui, may be a form of the early animal face pattern. However, the seams on the boundaries of the ornamental group are clear, straight and shallow, running through the stripes and intersecting with the convex chords on the upper and lower sides, in clear contrast with the non-overlapping bridge of the nose. However , as with the Gion LZM1:5 , the seams of the grate did not break or affect the convex chords of the neck ( see Fig. 16 ) . The three seams show that the cast of this statue is consistent with the previous Unveiling Li Jiazui Zun.
A pair of small "C" shaped ears are born on the edge of the mouth and attached to the upper bar of the upper abdominal band, forming a tube with a residual mud core, but the two convex chords that break the neck are obviously visible. The ears are slightly retracted on both sides and slightly convex in the middle, and the wall thickness is consistent (Figure 17, 1, 2). The ear surface is full of cloth ornamentation, which is also a wide-line animal face pattern, and the line is similar to the upper abdomen band. The animal face is symmetrical to the left and right, with a long mouth and an unprospice nose underneath, all of which are clouded. In the middle, a pair of oval eyes with oval eyeballs protruding; there is a row of crowns in the middle of the top of the head, flanked by "T" shaped horns. The lines are deep and steep, similar to the bands of the upper abdomen (Fig. 17, 3).
The form of the circle foot is consistent with the Li Family Zui Zun, divided into two sections with similar heights. The upper section is slightly thinner, and the three "ten" shaped holes are all laid out, the shape of the holes is more regular and consistent, the inside and outside are the same size, the side walls are straight and even slightly waist drum-shaped (Figure 18), but the position is not in the middle of the parting surface, but on the right, and the chord pattern of the perimeter passes through the center of the hole. The lower section of the circle foot is thickened, and the increment is about the height of the convex chord pattern, and the bottom edge is flat. The waist drum shape of the ring foot through the hole wall indicates that its forming is not made of the circle foot core with its own mud core, but is more likely to be caused by mud gaskets. X-ray films show that the grate is quite round, and no gasket is used, but it can be seen that there are many stomata at the bottom and abdomen (Fig. 19), most of which are subcutaneous stomata, so most of them cannot be observed on the surface of the apparatus, but some of them break the skin due to rust, so that the stomata are exposed (see Fig. 18).
Hu Jiaxi et al. pointed out that this guitong was cast in amphora, and the casting type consisted of three fans, an abdominal core, and a circle foot core. Zhang Changping pointed out that the gui "is decorated with a three-legged animal face pattern on the upper abdomen, and the ears and the three groups of ornaments on the body and three of the perforations form a 'five-point matching column' relationship,...... The cast ears have a core between the ear and the outer wall, and the corresponding casting marks are left on the abdominal wall.". The tomb belongs to the latest stage of Panlong City, and the shape of the vessel is close to that of the Yin Ruins culture period.
Second, chenggu dragon head fire knot amphora
In 1980, in the northeast corner of the earth-wrapped fire knot in the south of Chenggu Longtou Town in the Hanzhong Basin, farmers dug up the soil and found a bronze cellar and unearthed a batch of bronzes. The cellar is 2.3 meters from the ground and 1.5 meters from the top of the earthen bag, and the cellar is covered with a gray layer about one finger thick, and the bronzes collected include 3 pieces of yao, 2 pieces of zun, 1 piece of 簋, 卣, pot and plate, 4 pieces of cymbals, 7 pieces of spears and 41 pieces of sickles. The following year, farmers found a bronze cellar in this earthen bag and collected 14 bronzes. Wang Shouzhi and others pointed out that the Shang Dynasty belonged to the Bafang side during the shang dynasty, and the Shang Dynasty had heavy troops stationed here, and the fire knots were once altars, and these bronzes were sacrificial vessels.
In 1980, a piece of amphora (Fig. 20) excavated from the Fire Knot Cellar, with a height of 16.4, a caliber of 26.3, a belly depth of 12.2 cm, and a weight of 4.29 kg, was dated to the middle of the Shang Dynasty.
The shape of this piece is close to the front unveiled Li Jiazui Zun LZM1:5, but it has been changed and the decoration is quite different (Fig. 21). The mouth wall is straight, with a wide sloping flat edge that makes it open (Fig. 22); the square lip is thicker and out. The mouth is straight along the lower abdominal wall, and then the lower arc is lowered to close the flat bottom, and the lower is connected to the high circle foot carrier. The lower part of the lips is decorated with a fine convex string pattern that is not very straight, and its lower decoration is a narrow stripe, composed of one or two groups of oblique eye clouds, the lines are uniform, the eyeballs are prominent, but the various groups of ornaments are different from each other, and the upper and lower sides are inlaid with convex chord patterns that are not very straight, wide and narrow. The whole stripe floats up the table, and the band and the convex string pattern on it constitute the neck ornament.
The abdomen is wide, with a flat diagonal row of thick lines of thunder, and eighteen rounded nipple nails are evenly arranged in the middle. Whether the thunder pattern is a repetition of the same mold reproduction model, or derived from different molds, it needs to be known by image analysis, but the shape and size of the milk nail are slightly different, and it should be a mold processed one by one on the model. There is also a convex chord pattern under the belt that is the same as the one along the lower shape, which contains the mapping relationship between the abdomen ornament and the neck.
The bottom of the device is flat, the circle foot wall is straight (Figure 23), and the downward slightly skimmed. The circle foot is also divided into two sections of similar height, and the upper section is equipped with three irregularly shaped "ten" shaped holes in each week, and the two convex chord patterns roughly cut through the two sides of the horizontal and run through them. The lower section is decorated with a belt composed of six groups of oblique eye motifs, completely tiled, the eyeballs are not prominent, and the upper and lower sides are trimmed with convex chord patterns. Its pattern type and technique are the same as the neck band, and it is also a decoration that echoes the neck band. There is a narrow plain band under the stripe, and the sole of the circle is flattened.
The neck of the gui is paired with two "C" shaped animal head ears, which also start from the upper bar of the lip edge and join the abdominal stripe, and the eye pattern and convex string stripe on the neck pass through it. The head of the beast is in the upper part of the ear, facing downwards, and therefore obliquely attached to the edge of the lip. The beast's snout is wide, the nose is decorated with spirals, the nose has a narrow and flat nose bridge, and a pair of large "minister" glyphs have rounded eyes. The forehead is diamond-shaped, and the upper vertical triangle is decorated with a tall crown with a cloud pattern on it. A pair of large pupal-shaped horns extend to the lips in an inverted "figure eight" shape, which is covered with cloth ornaments, the width of the lines is close to the neck, abdomen, and circle foot band (Fig. 24), the upper sides of the animal's head are hooked with clouds, and the lower side is a large cracked mouth, exposing sharp teeth (see Fig. 22), which seems to protrude from which a flat and narrow tongue, curved and connected to the stripe, and its outer hook is longitudinally tattooed (Fig. 24). The upper section of the two ears is hollow, and the cross-section is grooved, with a wide side, in which the mud core is still there.
Clear traces of the casting process can be seen on the body. In the middle of the three "ten" shaped holes, clear vertical cast shawls can be seen, the shawl seams are very narrow, the traces through the lines are obvious, and all through the abdomen of the breast nails and neck eye beads, only one place leaves a wrong mark in the eyeball, but in the unstried folded abdomen, the upper end of the circle foot and the neck stripe, there are almost no stitch marks, indicating that these parts have been carefully treated.
The ears have obvious casting marks and are stacked on the neck band (see figure 20), indicating that the back of the ears is cast outside the mouth. On the inner wall of the abdomen, opposite the ear, there are three riveted heads arranged in the shape of an inverted "pin", shaped like a nail head protruding from the wall of the instrument, the surface is smooth, and the upper two are not round because they are flush with the mouth edge (Figure 25, 1, 2), the same as the Panlong City Li Jiazui double guise, which is a reinforcement measure used to strengthen the combination of casting both ears on the abdominal wall, and the two pieces of instruments are from the hands of the master and apprentice.
Four irregularly shaped gaskets with a regular distribution can be seen in the insole of the gui (Fig. 26), and the pattern is also consistent with the Li jiazui binaural fins. The width of the bottom edge is uneven, and the wider part is the place where the runner is set (see Figure 23).
Zhao Congcang once pointed out that the dragon head amphora was the same or similar to the Lijiacun gui in Panlong City, and further pointed out that the amphora riveting, and later explained that the three "rivet blocks" were traces of the caster ears [30]. The former is too general, and the latter is not precise enough.
Third, the newly dried Oceania waterlogged back amphora
In 1989, farmers in Chengjia Village, Xingan Oceania, in the middle reaches of the Ganjiang River, took soil at the southern end of the waterlogged sand dunes and found a large number of ancient bronzes, jades and ceramics. The waterlogged sand dunes are west of the Ganjiang River, and archaeological surveys believe that it is located in the ancient channel of the Ganjiang River, opposite the Wucheng ruins across the river, and the southeast is the Niutoucheng ruins. There was originally an oval sand mound with a height of 40 meters × 20 meters, and a height of 3 to 4 meters, and after the farmers found a batch of bronzes, archaeological investigation and cleaning were carried out, and the distribution of antiquities within 8.22 meters × 3.60 meters was dense, and the excavation report identified it as a large tomb, but there were different views [31], or the antiquities pit was more appropriate.
Of the hundreds of bronze artifacts excavated from oceania, 48 bronze vessels, including 1 amphora XD:43, were described in excavation reports as false ventrals, later renamed gui (Fig. 27). The grate was 17.4 cm high, 33.1 caliber, 28.1 abdominal diameter, 6.4 abdominal depth, and 26.6 cm diameter of the sole of the circle foot.
The mouth is large and slightly closed, wide and flat, and the thick square lips are out. Shallow abdomen, only 6.4 cm deep, is one-third the height. The middle of the abdomen is decorated with a turtle pattern, which is outlined by a pubic line, and about a quarter of the left posterior side is damaged by the broken hole. The striated glans is larger, with a fine pointed snout and only a partially protruding neck. The turtle has a round body, a circular swirl in the center of the back, and a cloud pattern on the outside. A pair of front paws protrude from both sides of the glans, the legs are thin and short, but the four toes of the claws are large and open, as are the remaining right hind feet, and the tip of the tail is a little remaining (Fig. 28). The upper abdominal wall is nearly straight and slightly curved, and the lower abdominal arc is folded and then folded down to form a tall circle foot (Fig. 29).
The neck under the lips is not obvious, the abdomen is decorated with a wide stripe, which is made of a wide stripe, the main body of the stripe is the animal face pattern, and the four groups constitute a complete stripe, which are edged with a thin line circle stripe, the circle is small, the degree of circle is different from each other, and the arrangement is not uniform, but the circle stripe is also edged with two convex chords, and there is a corresponding concave chord pattern on the outside to set off the convex chord pattern. The four groups of ornaments of the abdominal band are the same in the front and back groups, and the left and right groups are the same. The front and back of the animal face pattern have a cloud-style ribbed ridge as the nose, the length of the ridge and the width of the vein, etc., and the two sides are hooked with the shape line and permeable (Figure 30), and the animal face is symmetrically unfolded. The animal face is more abstract, showing a wide nose and its inwardly curled nose wings, flanked by a deep grin on both sides, and revealing jagged teeth. The two sides of the edge are lined with knife patterns, and a pair of small eyes are not very symmetrical, with hemispherical eyeballs protruding high and rounded, and one corner of the eye is oblique. There are no ears outside the eyes, and the long and thin body of the beast is in an "S" shape, full of hook cloud patterns, stretching out and folding up to the upper bar, and the tail is hooked inward. The large crown on the animal's forehead resembles a horizontal deer frame, and the left and right are symmetrically arranged with cloud patterns, "T" shapes and three cloud patterns. The two lower corners of the animal face are filled with abstract variants of the motif, the line type is consistent with the animal face, but the structure is indistinguishable, only the small eyeballs of the near quadrangle are prominent, and the abstract form is similar to the aforementioned Panlong City Li Jiazui and Yang Jia Wan Gui. However, the folds on both sides of the surface of this beast are highly symmetrical with the adjacent veins, and it is likely to be combined into an abstract long-billed animal face pattern, and the thin and straight cast seams can be seen in the center, that is, the boundary of the ornament group, indicating that the abdomen cast type is four equal parts.
The left and right groups of ornaments are the same. Because of the setting of the ear, the animal face pattern has no edges, and is replaced by a straight vertical line, the animal face pattern is still continuous and undisturbed (Figure 31, 1), and the composition and the two sides of the decoration are the same as the front and back groups (Figure 32). The ears are "C" shaped, and if the tube is half-rolled, it is shaped like an animal head, which has a lot in common with the ears of the aforementioned gui. The ears rise from the lip and are plate-like under the nose of the animal face stripe with a band on the abdomen. The animal face is slightly downward, close to the direction of the city solid fire knot, but the nose is wider, and the spiral lines on both sides protrude to form the nose wings. The middle of the nose is a low bridge of the nose, and its sides and face are clouded; in a pair of small "chen" glyph eyes, the round eyeballs are small but prominent, and do not fill the orbit. It is a small diamond-shaped figure in the forehead, topped with a dovetail crown. The crown is flanked by large "G" shaped horns with openings that bend downwards. The horns are curled for more than a week, the roots are curled, and the middle is lined with double scales, slightly upward (Figure Trinity, 2). The ears are wide and flattened, with a grooved cross-section, folded inwards on both sides and decorated with clouds. The lower part of the animal's nose cannot be identified as the animal tongue, with a longitudinal dovetail in the middle, three sets of cloud patterns symmetrical on both sides, and an edge line (Figure Trinity, 3).
The base of the grate is located in the middle of the ventral wall, circular, but slightly flat in the center. The lower part of the abdominal wall is curved and then folded straight down to form a high circle foot, the diameter of the circle foot is quite large, and the wall is slightly curved (Figure 33). The four cloud-shaped edges, corresponding to the ribs and ears of the abdomen, are placed on the wall of the circle foot. The four ribbed edges are consistent in shape, all permeable, and the two sides are hooked with the pattern; the upper end is higher and the lower end is lower, the upper end is at the angle between the lower abdomen and the circle foot wall, and the lower end is in the lower bar of the circle foot pattern (see Figure 30; Figure 31, 2; Figure 32). At the top of the hoop foot, there are four regularly shaped "ten" shaped perforations, positioned in the 45° direction, and a narrow band of convex chords is cut in series on the lower side of the horizontal. The circle foot ornament is under the hole, composed of four sets of the same ornament, each group of ornaments are symmetrically unfolded according to the ribs, and the two sides of each edge are placed with two opposite heads of the ribs, and the two stripes can also form a beast face pattern, and the ribs become the animal face nose. The composition of these motifs is more consistent, with the same lines as the ventral stripes to lay out abstract craps, the long nose is bent, the "T" shaped angle is placed horizontally, and the homomorphic eyeballs in the oblong eyes are quite prominent, in addition, the horizontal long outstretched body, the tail that is rolled back, and the wings and ornate decorations. The same as the abdominal band, the upper and lower bands have circle bands with trims, the difference is that the inner edge of the upper circle band is very thin and the outer edge is like a narrow band through the perforation; the inner edge of the lower circle band is also thin, and the lower side is directly the broad bottom of the circle foot (Fig. 34, 1, 2).
The structure of this piece is extraordinary, with a shallow abdomen, a bottom hanging from the half-abdominal wall, too large and high circle feet, large plates and large ears, and a turtle pattern on the center of the bottom, all of which have some of the characteristics of a bronze plate, which may be the reason why excavation reports classify it as a disk, and it is also the only unique shape seen so far. However, its "C" shaped roll-shaped animal ears, the animal face pattern and the composition of the filling pattern on both sides are closely related to the above-mentioned early amphora. In addition, this guise also has some unique factors, such as the abdomen and the ring foot decoration hook cloud-shaped through hole edge, so that its shape is strictly symmetrical left and right, this four-point structure so that the ornament composition is also divided into four groups, and the perforation at the top of the circle foot must also be set up with four.
The special structure contains an extraordinary craftsmanship. The casting process of this gui is very informative, both explicit and obscure.
The seams on the boundaries of the circle foot ornament are very obvious, narrow and straight, and break the circle band and coincide with the abdominal shawl seam. The casting shawl (see Fig. 32; Fig. 34, 2) along the vertical line of the four perforations of the circle foot is a cast fan parting surface and a joint surface, indicating that the gui is cast in a four-part model, and the four abdominal models are composed of a belly core and a circle foot core [33]. X-ray imaging revealed a significant difference in wall thickness on both sides of a mantle (Fig. 35, 1), indicating that the abdominal model was deformed and slightly tilted during assembly, resulting in a slightly thicker side.
Similarly, X-rays also reveal defects such as damage, repairs, stomata, as well as tortoiseshells and damage. Of great importance is the four gaskets on the inside of the gui insole, which are arranged in a more regular manner, one in front of the head, one on the back of the tail, and one slightly forward on each side. More importantly, the shape of these gaskets is nearly circular, which is very different from the usual Shang Zhou bronzes with irregular fragments as gaskets. They have sharp edges and an almost a circular gap around the perimeter of one piece, indicating that the casting is good. A gasket on the right side of the tortoiseshell has a round hole in the center, which should be the stomata of the gasket (Fig. 35, 2). The bottom wall of the grate is no more than two millimeters thick, and the rounded gass and the pores in them indicate that these gaskets are specially cast and not fragments of old or broken objects. This is an early example of the production of gaskets specifically, and the history of deliberately making gaskets is greatly advanced from the middle of the Western Zhou Dynasty. In addition, on the inside of the gasket in front of the turtle head, there is a large patch, one side is longer and straighter, how to form and patch is worth exploring.
The difficulty in casting this piece of gui was the ears, and the unique shape was its early form. There are no traces of craftsmanship on the ears, it is located on the belt, there is no breaking of the ornament, and there is no seam in the direction of the two sides of the orthographic projection of the ornament, indicating that the ear is cast and formed. On the outside of the joint of the ear and the abdomen, there are almost no traces of casting, but on the inner joint surface, the phenomenon of copper overflowing from the abdomen into the ear groove can be seen (see Figure Trinity, 1), and correspondingly, there is also a little superimposed ear on the outside (see Figure Trinity, 2), indicating that the ear is cast first. The more obscure and complicated aspect of the casting process of this gui is the ribbed edge. Although the shawl in the middle of the six ribs is visible, it does not coincide with the ring foot and the abdominal ornament (see Figure 30; Figure 32; Fig. 34, 1), indicating that the ribs are cast. The six ribs are all cloud-shaped, and both sides are hooked with the shape of the yin line, and they are all transparent. The four parting surfaces of the grate are all 45° offset by the ribs, so the shape of the edges is either embedded in the abdomen by a live block mold or cast in pieces. At the junction of the two ridges of the abdomen and the abdomen, no traces of casting are seen, but the root of the ridge of the circle foot does have traces of the overlapping edge of the circle foot (see Figure 34, 1), indicating that the edge was first cast. More evidence is needed to be corroborated or denied by CT scans.
4. Shanxi Bronze Museum collects amphorae
Shanxi cracked down on the crime of tomb robbery, seized a bronze amphora, now in the Shanxi Bronze Museum, and called the Bronze Museum Binaural Gui, referred to as the Bronze Museum Binaural Gui.
The Grate is 18 cm high, 38.5 cm wide, 25.6 cm in diameter, 19.5 cm in diameter and weighs 4,200 grams (Fig. 36). The mouth is slightly constricted, the wider diagonal edge is outer, and the lips are square (Fig. 37). The neck is slightly bundled and decorated with a convex string pattern. The abdominal wall is slightly curved drum, decorated with four groups of animal face patterns composed of flat bands, both sides of the circle belt are edged with a circle pattern, and the two sides of the circle belt are edged by a convex string pattern, the circle is basically round, but the size is slightly different, the arrangement is not complete, the height of the lines is the same, but the width and narrowness are different, and the line type is consistent with the convex chord pattern on both sides. The four groups of animal face patterns on the abdomen are basically the same, and the lines are wider than the circular stripes, close to the belly stripes of the Sucun Fire Knots and narrower than the Panlong City Lijiazui and oceania waterlogged backstreets. The curved broad nose of the animal face is against the lower bar of the stripe, and the narrow and short nose bridge runs through the stripe in the middle, and the sides are clouded. The nose is flanked by a deep grin on the corners of the mouth, revealing triangular teeth. The outer end of a pair of oblong eyes is slightly oblique, and the oblong eyeballs are quite prominent, and the length of the eyeballs is about twice the width. There is no ear behind the eyes, and the narrow and long body of the beast is horizontally folded, and then folded up to the upper bar, and the tail is rolled back inward, and the body of the beast is clouded. The crown on the forehead is extended upwards and extended by the nose, with a plaque in the middle, and the sides are decorated with a vertical knife pattern, a "T" shape, and three vertical knife patterns, which form a large crown similar to a deer frame. Similarly, the two sides of the animal face are filled with abstract patterns, which are generally triangular, except for the prominent eyeballs that are recognizable, the rest are indecipherable, and the line type is the same as that of the animal face. The filled motifs are correspondingly opposed to the contiguous ornamental groups, and the seams on the group boundaries separate the two, making it difficult to confirm that they are combined to form an inverted animal face pattern. The seam runs through the stripes and breaks the upper and lower circles, but there are no marks on the lower abdomen and neck surface, but are visible under the lips (Fig. 38). Under the band, another convex chord pattern is decorated, corresponding to the neck convex chord pattern, but there is no obvious trace of interference by the seam.
The two "C" shaped animal head ears are opposed, the main body is in the upper part, is a circular sculpture hollow animal head, the lower half is a shallow groove. The head of the beast starts from the lower edge of the mouth, is stacked on the neck and reaches the edge of the abdomen stripe, and is attached to the forehead of the striped animal face (Fig. 38, 2). The head of the beast is slightly downward, the nose is wide, the plane is facing the sky, and the front is narrow and the back is wide. There are folds in the thick upper lip of the beast, the sides of the nose are hooked with rolled lines to outline the nose wings, and the narrow and high hook cloud-shaped hollow nose bridge is set in the middle of the face, and the two sides of the nose are hooked with the shaped line, and the two sides of the nose are hooked with knife patterns. The spherical eyeballs in the glyph-shaped eyes are rounded; the forehead is outlined with diamonds, and is superimposed on the bridge of the nose. A pair of large high-relief horns stretch diagonally to the sides, the corners are outlined with cloud patterns at the base of the horns, and the scales are drawn in the corners; the top of the head between the two corners is decorated with clouds (Fig. 38, 3). On both sides of the head, the posterior segment of the cloud pattern should indicate the animal's ears and its cochlea, the front upper lip is clouded, and the lower part is an open mouth, and a pair of sharp fangs are protruding. The lower part of the ear under the nose is an inwardly folded groove, phototropic, the lower end of the plate-like Urs is long and hanging, the thickness is similar to the edge of the animal's head, and the sides are hooked with "S" shaped clouds. The setting of the ear does not affect the composition of the animal face, and the abdominal wall ornament under one ear is continuous (Fig. 38, 2), and the lower abdominal wall ornament of the other ear is blurred (Fig. 38, 4). In addition, there is a longitudinal perforation in front of the lower segment of one ear, the upper left part of the hole is mutilated (Fig. 38, 3), and the hole in the other ear is irregular, showing a wall thin of less than half a millimeter (Figure 38, 5).
The bottom of the grate is slightly rounded to circle the foot carrier. The wall of the circle foot is obliquely straight and slightly skimmed, divided into two sections. The upper section is symmetrically laid out with four not very regular "ten" shaped holes, and a convex chord pattern runs through the center. The lower section of the wall protrudes outwards a little, the walls are slightly skimmed, and the inner walls are folded out accordingly, still maintaining the same wall thickness. The bottom edge is straight, and the width and narrowness are basically symmetrical (Fig. 39, 1), but the inner wall is partially caused by the core chap, which is caused by the protruding defect. The inner wall should be unprocessed, flat and not glossy, and should be the original surface of the casting (Fig. 39, 2), while the smoothness of the outer wall, or the difference between the smoothness of the mold and the core, is more likely to be caused by polishing. The ornamentation of the whole gui, except for the fine circle line, the rest are in the form of wide line laying, and the grain line is smooth.
The body is left with clear traces of the casting process. At the demarcation of the abdominal ornament group, a clear cast shawl can be seen, and extends into the circle band, inserted into the two circles, and the spacing between the two naturally increases. Its position corresponds to the perforation of the circle foot, but there are no traces in the circle foot and neck, indicating that the shawl seams of these parts are polished clean, and only tiny traces are visible on the individual perforations, but the shawl seams are visible under the extravagant lips (see Figure 36 and Figure 38), indicating that the abdomen is four-point model, and the abdominal core and the hoop foot core form a cast. The inner wall of the abdomen is smooth, but the inner wall of the ring foot is flat and not glossy, and the inner wall of the abdomen is obviously polished. The four perforation holes of the circle foot are small on the outside and large on the inside, and the inner wall is not covered, indicating that it is formed by the core of the circle foot with its own core head (core brace) (Figure 39, 2). There are shrink holes under the mouth edge (Fig. 39, 3), indicating the inverted pouring of the mold.
The ears are clearly cast and superimposed on the abdominal wall (see Figure 38, 1, 3), indicating that the ear is cast on the abdominal wall after the ear tie. When one ear was cast, it was overflowed with copper fluid, covering part of the abdominal wall lines and making the animal face crown incomplete. Clear casting seams can be seen in both the ear edge and the middle line of the ear, and the former also has traces of the difference between the upper and lower parts of the fan (see Figure 38, 3), indicating that the ear is split into opposites, and the two pieces of the fan and the core form the cast. In the position of the cast ear on the inside of the abdominal wall, there is a set of four rivet heads, in a three-down arrangement, the size and shape are different, the protrusion height is basically the same (Figure 40), far higher than the aforementioned Li Jiazui and the fire knot riveting head (the number is also one more), all of which can be seen obviously cast and superimposed on the abdominal wall traces, these rivets and ears are integrated, the correspondence between the two, it can be determined that the rivet head is the post-cast amphora, for the measures used to cast the firmness, forming a cast riveting casting. It is consistent with the aforementioned Panlong City Lijiazui and Chenggu Longtou Village binaural gui.
Five, five pieces of amphora style and process comparison and sorting
Comparing the styles of the five bronze guises concerned in this article is inevitable to be overly fussy, but it is more intuitive for clear style elements. We will discuss the contour structure, decorative structure, decorative pattern and other points. Craftsmanship comparison is a common practice, according to the results of the comparison of style and craftsmanship, they are sorted, and their age is presumed with reference to related artifacts.
1. Contour structure
In terms of structure and modeling, the five-piece grate has a high degree of consistency: a bowl with a higher hoop foot is opposed to the "C" lugs at the mouth edge. In terms of outline, although the width of the mouth edge and the thickness of the lips are different, the two pieces of Panlong City are different, but they are both mouthed and the wall arc drum, but Yang Jiawan's abdomen is deeper and the ears are smaller.
Panlong City Lijiazui excavated a piece of earless LZM2:2, through the height of 238, caliber 236 mm, weight 5.15 kg, the mouth wide edge, deep abdomen, the upper abdomen decorated with a wednesday animal face pattern composed of a wide line of stripes, the shorter circle foot is also divided into two sections slightly thin and slightly thicker, the middle of the upper section of the convex chord pattern, three are cloth convex through holes, from the upper section across the lower section, and the lower edge also has a gap, the three gaps are neither corresponding to the animal face pattern, nor with the ornament group boundary that is, the casting of the seam (Figure 41). The lower abdomen is equipped with three rather regular rectangular gaskets. The excavation report designated this tomb as the fourth phase of Panlong City, predates Lijiazui No. 1 Tomb. The structure and contour of this gui are quite close to those of Yangjiawan Gui, and the difference is slightly greater than that of Li Jiazui No. 1 Tomb Gui, such as narrow edge, thick lips, and shallow abdomen.
The bronze pavilion is also mouthed, but to a lesser extent, almost like the Lijiazui No. 1 tomb. Both the fire knot and the waterlogged back are straight,000, and the latter has a shallow abdomen. According to Yue Hongbin's view of the evolution trend of Yin Xugui from deep abdomen to shallow abdomen[38], according to the outline alone, the chronological order of the five pieces can be arranged as follows:
Yangjiawan Gui Li Jia Zui Gui Bronze Pavilion Gui Fire Lump Gui Waterlogged Back Gui.
For the ears of the grate, its practical function is unknown, but it should be an important accessory. What the five pieces of ears have in common is that they are all small in size, starting from the edge of the lip and occupying a quarter to one-half of the height of the upper part of the ear; the other is to decorate the face of the beast or shape the head of the beast. According to the shape, it can be divided into two categories, one is semi-circular pipe shape, the outer decoration of the animal face pattern, Yangjiawan gui is the most typical, waterlogged back gui is close; the other type is the animal head, the lower half is the groove type, Li Jiazui gui, fire knots and bronze pavilion gui are all the same. In contrast, the ears of the Li Jiazui and the Fire Knot are closer, the bronze pavilion beast head is quite gorgeous due to the piercing edges, and the hanging horn below appears too suddenly. With accessories evolving from simple to complex, the order of the five pieces can be arranged as follows:
Yangjiawan gui waterlogging back gui li jia zui gui, fire knots gui bronze pavilion gui.
In fact, the five pieces discussed in this article are rare in the Shang Zhou bronze gui, and the vast majority of amphora have "C" shaped large ears, representing this early form of binaural gui, which is the Tomb of Xiaotun Women in Anyang M5:851 (Fig. 42), which belongs to the Wuding era in the early Yin Ruins [39]. A total of 5 pieces of gui were excavated from the tomb of Nühao, and only 1 piece of gui was excavated, which shows that the universalization of gui er may have begun from the middle of the Yin Ruins. This piece has no inscription and is a minority in the tombs of women. Its shape is a luxury mouth, pointed edge, square lip, obliquely straight abdominal wall, lower abdomen photons and sharply retracted the round bottom, obliquely straight out of the circle foot to bear it. The upper abdomen is decorated with a tiled Gu Shou Bird stripe, with slightly wider lines and a thin line of cloud thunder patterns. In the anterior and posterior center of the stripe, there is a round carved head between the tails of the two birds, a tiled slightly wide line of human face patterns between the two sides of the bird's head, and a large "C" shaped animal ear on both sides of the vessel, starting from the stripe rail and connecting to the lower abdominal arc, the tip of the ear is the animal head, and the light tube groove below the mouth is the groove. The top of the circle foot is covered with three holes a week, but it is not transparent, and it is thickened underneath, and decorated with six stripes, two or two groups of stripes, and the group boundary is set with a narrow and short ribbed edge, positioned below the hole, and the sole of the circle foot is light and uneven. It is 23 cm high, 33.5 caliber, 22.5 cm diameter and 8.05 kg. Although the casting process information has not been disclosed, the three groups of abdominal stripes and circle foot stripes and their three ribs are difficult to configure with a pair of ears and the front and back of the head, and how to arrange the two ears and the three-point casting type in the process should be the key. Comparable to this is the female Haoyu M5:767 with the opposite "C" shaped amphora, which is a post-cast rivet, which should be the product of the southern workshop casters who were relocated to the YinXu royal workshop.
In contrast, the five pieces of gui discussed in this article, as far as the binaurals are concerned, are very different from the binaural gui in the Yin Ruins period, in view of the fact that the tomb of the women is excavated, whether the guined binaurals are related to the southern casting, and more evidence is needed, even if it is related, its time span is quite large, and it cannot be directly related to the five pieces of gui in this article.
Closely related to the outline of the grate is the embossing, or the main decorative function of the prism is to adjust the contour. The late Erlitou bronzes have just appeared in the rudimentary shape of the ribs, that is, the cloud-shaped hollow ridges, and the southern style bronzes of the Chinese Shang Dynasty have made the ribs have developed by leaps and bounds, and the hook-tooth style ribs that appeared have been widely applied to the large-mouth folded shoulders, the 罍, the 瓿, the 瓿, the 卣 and other utensils, and gradually evolved into the long stripes of the ribs [41]. The five pieces of gui involved in this article, the Yangjiawan Gui, the Li Jiazui Gui and the Fire Lump Gui do not have a rib, the bronze pavilion is placed in the middle of the animal's head in the ear, and the waterlogged back is not only two on the abdomen, but also has four cloud-shaped hollow edges. According to the decoration and evolutionary trend of the ribbeds, the five pieces can be arranged as follows:
Yangjiawan Gui, Li Jiazui Gui, Fire Lump Gui Bronze Pavilion Gui Waterlogging Back Gui.
2. Ornamental structure
Ornamentation is another important factor in bronze style and is the main object of discussion of bronze style. The five amphora pieces mentioned in this article, although the width and narrowness of the lines are different, but they are all wide striped line tile types, Lijiazui Gui, Yangjiawan Gui and Bronze Pavilion Gui, the ornaments are all striped, belonging to the Anyang II. style divided by Luoyue, and the fire knotted gui and the waterlogged back gui, although the ornaments are also ribbon-like, but almost full of paver tables, and the circle foot also has a stripe, which belongs to the Anyang III. style divided by Luoyue. From the perspective of the development of ornamentation, it can be generally said that the II. style is earlier than the III. style, but it is not absolute, and the coexistence of the two at the same time is not only possible, or it has coexisted for a long time, and even in the late Yin Ruins, the middle and late Western Zhou, and the middle and late Warring States, there have been phenomena of decorative reverse evolution or degradation.
As for the content of the ornamentation, except for the fire knotted abdomen decorated with diamond lattice milk nail belt and the circle foot oblique angle cloud pattern belt, the rest are all animal face patterns or animal face patterns filled with the so-called hammer pattern configuration. It should be pointed out that although almost nothing is known about the connotation of the oblique eye pattern so far, it is a pattern with a long history. In the fourth phase of the Yanshi Erlitou site, there is an example of Tao Dakouzun 2000IIIT2:1 shoulder along the lower shoulder to decorate the beveled eye belt [42]. The other four pieces, whether it is the motif of the abdomen, the animal face pattern, or the circle foot such as the waterlogged back, the composition of the animal face pattern is relatively abstract and incomplete. For example, the upper lip of the mouth is unknown, the corners of the mouth on both sides of the deep grin cannot be connected, there are no ears, and there are no horns, but they all have the body of the beast and a large crown ornament of the deer frame, which is wide and complex, and the animal face pattern excavated from the tomb of the woman is clear, and the animal face of the woman M5:778 abdomen excavated from the tomb of the woman is clearly distinguished, the latter has no animal body, the rest of the elements are complete, and the crown decoration is much smaller (Figure 43) [43]. Judging from the comparison of the lines, the lines of Lijiazui and Yangjiawan are rougher.
Compared with the motif animal face pattern, the "hammer pattern" on both sides is more abstract, basically curved ruler or triangle, except for the distinguished eyeballs, the rest are unknown. The problem is that the four pieces of Grate are all the same, and they are highly similar. Indicates that they are similar in age or not much different. Combining the motifs and filler patterns, the five pieces can be listed as follows:
In fact, the convex chord pattern of the waterlogged back, including the border of the abdomen circle pattern and the side circle stripe on the circle foot stripe, are narrow and flat bands, which are different from the convex string patterns of other four gui. From the ornament configuration, the five pieces can be listed as follows:
Yangjiawan Gui Li Jia Zui Gui Bronze Pavilion Gui Fire Lump Gui Waterlogged Back Gui.
Look at the ornamentation part. Although the stripes of Lijiazui and Yangjiawan are different in width and narrowness, they are all three groups, and the corresponding perforation of the circle foot is also three, and the parting surface of the guiss cast is basically the same as the perforation, but the configuration of the two ears and the three groups of ornaments is difficult to harmonize; the waterlogged back and the bronze pavilion are all four groups of ornaments, the circle foot is clothed with four perforation holes, the parting surface corresponds to the perforation, and the two ears or the two edges of the abdomen of the waterlogged back and the four edges of the circle foot can be symmetrically laid out. Although the abdomen ornamentation of the fire knot is not grouped, the neck and the ring foot are three points, and the corresponding three perforations of the circle foot are also consistent with the shawl seam. From the ornamental layout, the following sequence can be discharged:
Yangjiawan Gui, Li Jiazui GuiHuo Gong Bronze Pavilion Gui, Waterlogged Back Gui.
It is necessary to compare it with the bronze hoop foot vessel excavated from the Yin Ruins. The five tombs excavated in Xiaotun in the early years are dated to the Huanbei period, that is, the late Middle Shang Period, before the Yin Ruins. A piece of R2069 excavated from Xiaotun M199, pointed edge, square lip, corset neck, bulging abdomen drooping, dwarf circle foot. The neck is decorated with twenty-one triangular bands filled with fine thunder patterns, and the lower week is narrowly flattened with convex strings, followed by a narrow band outlined by eleven horizontal "S" patterns filled with fine clouds, which can also be regarded as epaulettes. The abdomen is decorated with a wide stripe, which is filled with fine thunder patterns in the oblique grid text, and the nipple nails protrude from the center of the diamond grid. The circle foot stripe consists of nine groups of eye moirés (Fig. 44). The vertical drapes of the three uniform cloths are clearly sewn, breaking the mouth edge to the circle foot ornament, and its decorative type can be classified into luoyue's Anyang III. style. This piece has no ears, but it is obviously not in the same era as Li Jiazui M2:2.
The earless woman good gui M5:832 excavated from the tomb of Yin Xu Is one of two pairs of grates, the mouth, the tip, the thin lip, the neck, the bulging abdomen, the short circle foot, almost full ornamentation, the neck cloud belt decorated with three round carved heads, the abdomen is decorated with diamond checkered, the middle protrudes round breast nails, the top of the circle foot is clothed with three permeable holes, and the prime minister is 60 degrees wrong, and the bottom is decorated with three sets of flat eye thunder stripes, and the gill bone-shaped protrusion between the group boundaries is consistent with the position of the head, and the bottom is cast with the inscription "Woman Good". The height is 9.1, the caliber is 13.5, the diameter of the circle foot is 9 cm, and the weight is 0.9 kg (Figure 45). The casting of this grate is obviously seamed and parted along the three perforations, so it is cast after the head is cast. It can be seen that although this gui has developed the Luoyue IV style and is also decorated with a round carved head, the decorative layout emphasizes three points: three heads, three perforation holes, three groups of eye thunder patterns, and the foot and neck decoration positions are the same, echoing up and down, but deliberately avoiding the parting surface, which obviously has the tradition of erligang to descend to the formation of the middle merchants. However, the difference in decorative styles is evident from the five amphoras concerned in this article, reflecting that they are all dated earlier than the Yin Ruins.
3. Casting process
Casting methods and moulding processes are mainly discussed here.
The five pieces are all cast and formed by the clay fan method, which belongs to the technical tradition of typical Central Plains bronze ware. The casting method here refers specifically to the casting of binaural ears.
In addition to the Yangjiawan Gui binaural casting, the remaining 4 pieces of Gui were cast equally, of which the newly dried waterlogged back gui was cast first, and the other 3 gui were cast after the ears, and all belonged to the type of casting riveting post-casting.
Post-casting was discovered by Hua Jueming and others when they studied the bronze casting process of the Tomb of the Women, and later after an investigation of a series of southern-style bronzes, it was determined that this was a southern-style casting process.[46] The exploration of the origin of the craft is quite related to the two bronze axes excavated from the Lijiazui No. 1 Tomb in Panlongcheng, Huangpi.
The tomb unearthed 5 bronze axes, of which LZM1:12 and LZM1:13 look ordinary, but are actually quite special. The shape of the two pieces of axes is close, with the typical styling characteristics of the upper bronze axe of Erligang, and the cup-shaped abdomen is divided into two parts, the upper part includes the lips and neck, and the lower part includes the abdomen. The bottom is flat, the mouth is extravagant, the mouth edge seems to be folded inward and thickened by about 1 mm, and the root of the neck is constricted, appearing to be bulging outside the abdomen. The hollow cone foot with the cross-sectional triangle at the bottom is supported by the empty foot and the abdominal cavity, and some of the mud core may still remain. Above a foot, the abdomen is equipped with a band or groove "C" shaped steel, and the opposite mouth of the pier is erected with a column, with a square section and an umbrella-shaped column cap at the top. Decorated at the base of the neck, a strip consisting of a wide line of abstract animal face pattern and two hammer patterns, trimmed with convex chord patterns above and below, and broken by the mud core under the chain. When LZM1:12 was excavated, nearly half of the mouth edge was lost along with a column, and the height of the passage was 24.5 cm (Fig. 46, 1). Judging from the broken subsponsion belt, the squid should be cast into shape, and the core under the chain is combined with the abdominal model, leaving two vertical seams on the stripe, and the plain surface between the shawls. However, the outside of LZM1:12 can not only be seen in the obvious casting of the steel (Fig. 46, 2), but also the inner wall of the abdomen can also see the "riveting head"-like structure (Fig. 46, 3), indicating that the cast is cast after riveting, in the face of two contradictory phenomena, the reasonable explanation is that the original cast of the steel is defective, and then re-cast with cast riveting [48]. It shows that at this time, the caster clearly recognizes the advantages of the casting riveting post-casting process, or the casting adhesion is strong for recasting, or it is suitable for casting on thin-walled parts.
When the bronze axe LZM1:13 was excavated, nearly half of the upper abdomen was mutilated, one foot was mutilated, and the lower part of the two feet was recast, which was later repaired. Its shape is quite close to that of LZM1:12, but the abdomen is almost not segmented, the upper abdomen is decorated with three convex strings, the lower abdomen is decorated with three sets of animal face stripes, and the upper and lower dotted stripes are inlaid. The sole is slightly extruded, the foot is conical, the cross-section is annular, and the hollow foot runs through the abdomen. The same grooved band rises from the upper abdomen and joins the middle of the lower ventral band (Fig. 47, 1). The casting of the middle of the cast is obvious and rough, and the bondage is obviously cast, superimposed on the stripe (Figure 47, 2), indicating that the casting is post-cast, but in the inner wall of the abdomen, there is no "riveting block" cast after casting riveting, and whether the mortise is a mortise type post-casting, which depends on CT analysis to determine, and the difference with the PZLM1:12 is obvious. Not only that, but the two legs of the axe are recast, but the original cast of three feet and abdomen are cast. There are obvious cast shawls at the boundary of the abdomen, and there are also near-ring cast shawls at the bottom (Fig. 47, 3), indicating that the cast of this axe consists of a three-belly fan, a bottom fan and a ventral core (integrated with the three-legged core), and X-ray imaging does not find a gasket at the bottom.[49] In addition, the practice of bands being trimmed with dots or milk nail belts is quite ancient, and is mostly found in the late Erlitou culture, such as the flow angle of the Shanghai Museum, the milk nail pattern axe excavated from Baijiazhuang in Zhengzhou, a milk nail pattern axe purchased in Kaifeng, and a milk nail pattern axe collected by the Shanghai Museum.[50]
Originally designed to be cast in a two-ear cast riveted back, although the ear root is partially separated from the neck of the mouth, the combination is firm and there is no trace of repair. The rivets of this piece are three, shaped like a flat-headed nail cover, but not round or even uneven edges, the surface is not smooth, and the raised inner wall is about 1 mm, in an inverted "pin" arrangement (see Figures 8 and 9). Compared with the bronze pavilion, the bronze pavilion ear has four rivets, although its edges are still jagged, but protruding like a bubble nail, which is arranged three times and the next (see Figure 40). Or another caster refers to the work of Li Jiazuigui. The city solid fire knot ear is also three rivets, the shape is also irregular, but the surface is smooth, and the arrangement is also inverted "pin" glyph. Its rivet head is particularly in the upper two close to the mouth edge, and the mouth edge is "cut" off a piece, probably caused by the high position of the process hole.
These three pieces are sorted in order, li jiazui gui is listed first, the age is in the upper layer of Erligang or slightly earlier, while the other two are difficult to decide, but they are not far away.
The lower limit of its age can be explained by a group of three Phoenix Pillar Axes, but only one has a clear excavation site, which is from the tomb of Hejia Village in Qishan. The tomb is one of the 10 tombs found by farmers when they leveled the land in 1973, woven as M1, more than 10 bronzes were unearthed, and among the 7 bronze containers, there was 1 piece of Fengzhu Axe M1:10, with a height of 41 centimeters. The mouth of this extravagant, pointed edge, cup-shaped abdomen is divided into two sections, each decorated with three groups of animal face patterns composed of stripes, the nose of the animal face and the group boundary are equipped with tooth-shaped ribs. A large "C" shaped beast is emboldened from the upper abdomen and connected to the lower abdomen, and the apex is in the shape of the head of the beast, and its forehead is decorated with a cloud-shaped ornament. Opposite the gong, two square columns are erected along the inner wall from the mouth, and a round carved phoenix lies on the head of the pillar, and the hollow crown decoration is quite ornate. Micro-protrusions at the bottom of the vessel, empty foot carriers with three cross-sectional triangles (Fig. 48, 1). The cleanup briefing notes that the tomb dates to the early Western Zhou Dynasty, and the early catalogue believes that the age of the Tomb is the late Shang Dynasty, but Lin Hu believes that it dates earlier than the Yin Ruins.
Examining the inner wall of the vessel, a number of special phenomena were found. The first is a pair of "rivet heads" opposite to the head of the beast, round and bubble-shaped, neatly contoured, with a swirling surface, obviously with gaps in the wall, indicating that the casting is post-cast, which is in the same vein as the Panlong City Lijiazui Gui, but beautifies the rivet head (Figure 48, 2). The second is the three sets of longitudinal ridges in the upper and lower sections of the inner wall of the abdomen, which are reinforcing measures for casting the animal face nose ridges (Fig. 48, 3) [52].
Also co-formed and closely related to the Hokatsu Tsuyoshi Tsuyoshi are two heirlooms in the collections of The Freer Gallery of Art (Smithsonian) in Washington and the Izumiya Hiroko Museum in Kyoto. Friar 's ( No. 07.37 ) is closest to hejiacun , but has a slightly shallow abdominal band and narrower ridges ( Fig. 49 , 1 ) , and is usually dated to the late Shang Dynasty. However, on its inner wall, there is also a pair of bulbous rivets decorated with swirls, and the three sets of ribbed edges on the abdomen are also cast and cast first (Figure 49, 2), and the process is exactly the same as that of the Fengzhu Axe of Hejia Village, which can be considered as the work of master and apprentice. Izumiya Bokokan, in addition to the same but more gorgeous shape of the phoenix [54], three triangular cross-sectional feet hollow and through the abdominal cavity, the change of the abdomen is larger, the most prominent difference is the bottom crotch, the abdomen stripe without edges, and the lower abdomen is decorated with a high relief animal face pattern, cloud thunder pattern lining, is a three-layer flower structure (Fig. 50, 1). Not only that, but the inner wall of the lower abdomen also has a concave corresponding to the high relief ornamentation, some of which is still in the mud core (Fig. 50, 2). A large "C" shaped beast is located on the abdominal wall, which can be said to correspond to the iron, and there is a pair of "round rivet heads" in the corresponding position of the abdominal inner wall, which floats on the wall of the vessel and is decorated with a paisley pattern (Fig. 50, 3). Apparently, this vessel is in the same vein as the former Erfengzhu Xu, but it was only from the hand of another generation of casters.
In the Shang Dynasty, there were many bronze axes with cup-shaped abdomens, while there were only three pieces of Fengzhu Axe, and the key processes were the same, indicating that their eras were closely related. A bronze axe collected by the Shanghai Museum is also a cup-shaped abdomen, each of which is decorated with a beast face stripe, without a rib, and the column cap is the usual umbrella-shaped, but the head of the "C" shaped beast ear is huge and hollow, and there is the ear of the beast of the Li family's mouth (Fig. 51, 1), however, the inner wall of the abdomen corresponding to the animal ear has a pair of rivets that are the same as the Izumiya Hirokokan (Figure 51, 2). This piece of axe itself is not late in age, but in view of the fact that the casting riveting casting is no longer seen in the axe and the ear and button turning to the cup, the koshi, the oeil, etc., can be attached to the tail of the Fengzhu Axe, and it is presumed that the axe from Hejiacun to the Shanghai Museum is from four generations, and it is extended from the early or slightly late turn of the Middle Shang to the late Middle Shang or the transitional stage between the Middle Shang and the late Shang.
Similarly, only three pieces of small curl ears and cast riveted cast amphorae are seen, and their order can be arranged as follows:
As for the bronze pavilion and the fire lumps, it is still difficult to determine. It seems that two branches were divided from the Lijiazui gui, one continued to cast the animal face stripe, but its sides were inlaid with circle patterns, and the cast rivet casting of the ears was equipped with four riveted heads, arranged on the top three and the next, and the rivet heads protruded like a round bubble; while the other one kept the flat head nail cover riveted head, three pieces, inverted "pin" arranged, but the abdominal pattern of the instrument was decorated with cloth type, and the neck and circle feet had narrow oblique eye bands. The ages of the two are around the early Middle Shang, the earliest to the intersection of the Middle Shang and the early Shang, and the latest to the transition between the late and middle Shang.
Re-analysis of the newly dried waterlogged back, full of cloth ornamentation but no shading, belongs to the tile type, the ornament belongs to the Luoyue III. style, and the swallowtail of its crown ornament is small, but quite special. Its amphorae is cast first, and the ribs are cast first, which is not comparable in the Yin Ruins artifacts, but it is linked to the Fengzhu Axe of Hejia Village in Qishan, which is cast first in three groups of ribbed edges and cast in a convex prism, while the waterlogged back is cast in a flat-backed manner. In fact, the origin of the ribbed connection should be earlier than that of the Fengzhu Xu in Hejia Village, Qishan. The Friar Art Museum has a long-necked pot with a lid (No. 49.5; Fig. 52, 1), which is characteristic of the late Erligang, that is, the late Shang Dynasty, and the lid and neck are decorated with three hooked tooth edges, which are cast first, because of the thin wall, and one of the ribs of the lid is seen on the inner wall (Fig. 52, 2) [57], apparently causing a casting defect. In order to avoid the occurrence of this defect, later casters set up a protruding rib thickener wall on the inner wall of the casting joint, which can completely envelop the root of the ribbed edge and form a convex back casting of the ribbed edge. However, there are also casters who have taken a different path, using the method of thickening the wall, forming a flat-back casting of the ribbed edge, and the ribbed edges of many bronzes on the newly dried waterlogged back should be cast in this way [58]. It seems that the waterlogging is later, but not later than the early Yin Ruins. Therefore, the sequence of five amphora can be arranged as follows:
Yangjiawan Gui Li Jia Zui Bronze Pavilion Gui, Fire Lump Gui Waterlogged Back Gui.
The casting process refers to the structure of the cast of the gui body.
Panlong City Yangjiawan Gui and Li Jiazui Gui cast three points, the parting surface is roughly corresponding to the circle foot three perforations, this form is common in Erligang bronzes, such as Zhengzhou Shangcheng, Huangpi Panlongcheng. The fire knot is different, although it is three models, the parting surface is not consistent with the three perforations, but is 60° wrong. Oceania waterlogged backguids are cast in four parts, and the parting surface is through four perforations. Bronze pavilion zun, cast type four points, parting surface through the circle foot through the hole. Obviously, the casting design of the gui is closely related to the perforation of the circle foot, first of all, the number of the two is the same, followed by the position of the parting surface of most of the gui and the position of the circle foot through the hole, through the hole, only the fire knot is the exception. With this exception, it can be considered that its casting is individualistic. For the casting process, the order of the five pieces can be arranged as follows:
Yangjiawan Gui, Lijiazui GuiHuo Gui Bronze Pavilion Gui, Waterlogged Gui synthesized the above discussion, and the age of the five pieces can be arranged as follows:
The earliest age of The Panlong City Yangjiawan Gui is equivalent to the first phase of the upper layer of Erligang in the early Shang Dynasty, and the lijiazui is slightly later, and the age is equivalent to the transitional stage or phase II of Erligang I and II. It is difficult to determine both the dragon head fire knot and the bronze pavilion gui, and at about the same time, the age or the late erligang phase II or the transition stage from the second phase to the Middle Shang does not rule out the possibility that the fire knot gui has entered the early Middle Shang. The Oceania Gui age is either slightly earlier in the late Middle Shang Dynasty, or the yin ruins that were previously thought to be phase I or earlier. Sun Hua discussed the Oceania waterlogged bronze group, pointing out that its age is no later than the second period of the yin ruins divided into four periods,[59] which is very insightful.
As far as the casting land is concerned, although the Yangjiawan Gui has its characteristics, such as the convex perforation of the circle foot and the gap under the hole, it is not yet certain that these are the characteristics of southern bronze, and the casting place is unknown. Of course, the zhengzhou shangcheng copper casting site is relatively weak in connotation, which can neither explain that the bronze ware of the shangcheng cellar pit was cast,[60] nor prove that the Panlong City artifact speculated by Bergli was cast on him.[61] As for the Panlong City Lijiazui Gui, the Dragon Head Fire Knot And the Bronze Pavilion Gui, it has typical southern craft characteristics and should be the products of a group of casters in the Southern Copper Casting Workshop, so the span of the times will not be too large. Oceania waterlogged backguids also have a typical southern process, and the ribbeds are cast separately, which is different from the above three pieces and belongs to another group of southern casters.
This involves the perforation of the circle foot, and by the way, I will make a brief argument. Antiquarians of the Song and Qing dynasties turned a blind eye to these perforations, and the first to notice the problem was Walter Perceval Yetts (1878-1957) at the British Museum. He studied the Collection of Chinese Bronzes by George Eumorfopoulos (1863–1939) and noticed the holes in the feet of the bronze carcasses, which he believed were caused by the loss of wax casting bronzes, which were cut into pieces and then rusted off. Wan Jiabao (1926-2009) disagreed with Yeats, but believed that it was once formed by the use of "ten" or rectangular copper sheets to support the mud core, which was then formed by the copper sheet shedding or corroding. Shi Zhangru (1902-2004) analyzed the bronze statue and thought it was "two or four cross-shaped support pads on the bottom" to support the circle foot core,[64] which was considered to be the trace of the mud core support. Until recently, Liu Yu once again followed Shi Zhang's theory, believing that the formation of the perforation was a relic of the mud core head or mud core bracing setting.[65] These views were too one-sided. The process does not take into account that the circle foot core is not long, its diameter is large, and the core base protruding from the bottom edge is enough to make it stable, without the need to extend the core to fix it; similarly, the position is also at the end of the fan, and the end needs a fixed fan such as mortise and mortise, and the core head is set close to these structures to fix the fan Less efficient. On the circle foot apparatus that did not have a perforation, such as the Erligang and Zhongshang animal face patterns excavated from the Erligang and Zhongshang period excavated from the Gaocheng Barrage Pan, the animal face patterns of the Zhongshang period excavated from Yueyang Bream Mountain, and the amphora M5:851 excavated from the Tomb of The Lady Hao did not find gaskets in the circle foot wall [67], which also showed that the position of the perforation did not require a gasket to maintain a cavity or fix the model. In addition, there are many shapes and styles of the perforations, often irregular shapes, and more common "ten" shapes, and some special shapes such as fire knots are T-shaped, and the earless LZM2:2 of the Lijiazui No. 2 Tomb in Panlong City is convex. If it is used as a core brace or core, it does not need to be processed into a variety of complex shapes, especially the very narrow "ten" shaped holes on the feet of the bronze circle of the Yin Ruins period, such as the Yellow Yao stored in the Shanghai Museum, but there are many Yao, such as the Shu Ma Yao excavated from the M267 of Dasikong Village in Anyang, the "ten" shape is impermeable [68], indeed, it is not easy to form such a hole, and the shape of the core support is even more incredible. In fact, since the late Neolithic period, the supports, handles and circles of the pottery of the Dawenkou culture, Qujialing culture and Longshan culture often have perforations, and the function is basically decorative, and there is a trend of regularity and aesthetic evolution, these decorations are later expressed on bronze, and it is also a footnote closely related to pottery casting, which may not be related to the copper casting process. The obvious fact is that the Panlong City Yangjiawan Gui and Oceania waterlogged back ring foot permeability holes are small and large on both sides, and must be made of independent cores (pieces) to form, not only has nothing to do with the foot core support, but also has the trouble of blessing fixing between the circle foot core and the fan. The imitation copper pottery of the Erligang period often also has a perforation in the top of the circle foot, which is another proof of its non-technical requirements but decoration.
6. Early small curly ear pottery vessels and early amphora bronze grates
The bronze appearance of the ancient Central Plains and its surrounding areas is undoubtedly very unique and even strange in the vision of the entire ancient civilization, and the shapes and ornaments and the means to achieve them are outstanding. There are many unsolved mysteries in a variety of bronze containers, from functional design, hue to use.
However, looking for the origin relationship of these utensils, it is not difficult to find that it is closely related to Neolithic pottery, and it is no wonder that the ancients referred to "pottery" and said that the connection between their crafts should be contained in "pottery casting".
1. Erlitou culture
Pottery should appear in the late Neolithic period, and the same function as the bowl, pot and other containers, the shape is not much different, but most of them have no ears. The cup of Daxi culture will be set up with a ribbon "C" shaped iron in the middle waist, and the pottery cup of Shandong Longshan culture is also often equipped with a shaped "C" shaped iron. Influenced by these artifacts, in the late Neolithic and Erlitou cultures, ring-shaped or "C" shaped small curls appear on the mouth edge of pots, gui, and utensils, and mud tablets are rolled from the mouth to the neck, small in shape, and only have decorative functions. For example, the clay pot 2002VM4:4 excavated from the Erlitou Tomb of the Erlitou Site of Yanshi Erlitou, folded along the bottom of the circular circle, the mouth edge is opposite to the outside of the two small "C" shaped ears, wider, there is a reel, the upper and the mouth edge are roughly flat, and the lower end is connected to the lower abdominal wall of the mouth edge (Figure 53, 1). Another clay pot 2002VM4:14 is in the same form, which belongs to the late stage of the second period. A piece of pottery 2004VM17:1 in the late fourth stage, with a wide thick lip, a bulging abdomen, a two-week wide convex chord pattern on the upper abdomen, and a wider ear with a roll on the outer edge of the mouth, directly from the mouth edge to the mouth edge, plain and unstried (Fig. 53, 2) [69].
The amphora shape of these pots or gui is consistent with the bronze pavilion in the five bronze guises discussed in this article, and when it is the origin of such bronze ears, it reflects the influence of Erlitou culture on the Jianghan Plain and even the shang culture in the middle reaches of the Ganjiang River.
2. Zhengzhou Mall
Inheriting the Erlitou culture of the early Shang Erligang stage, Zhengzhou Shangcheng is the capital city, and the relics have the representative of this period.
According to the "Zhengzhou Mall: 1953~1985 Archaeological Excavation Report", the excavated pottery gui, belonging to the lower phase of Erligang only two pieces, open high circle foot, no ears; belonging to the second phase of the lower layer of Erligang, there is a leap forward growth, counting 40 pieces, straight folded edge type the most, up to 28 pieces, followed by open roll along the type, counting 9 pieces, only 3 pieces are amphora, and the excavation report only lists two pieces, both from the Minggong Road pottery site, all of which are fine mud polished gray pottery. Gui C11H135:41, height 15.8, caliber 36.8 cm; straight mouth slightly extravagant, curved edge, round lips, neck decorated with a week of yin chord pattern and a week of convex chord pattern; shallow abdomen, arc-shaped abdominal wall decorated with a convex chord pattern; the bottom is nearly flat, the circle foot wall is straighter, its upper section is slightly thin, set up two carved "ten" shaped through holes, a perimeter chord pattern passes through it; the lower section is slightly thicker; a pair of broad flat animal ears are opposed, from the mouth along the upper abdomen to cover the neck, the ear decoration is brief, only seeing the two eyes and the nose bridge (Figure 54, 2). C11H135:6 is very mutilated, only less than a quarter of the abdominal wall containing the ear remains, and the residual height is 4 cm. Straight mouth, curved abdomen, neck and abdomen are decorated with a convex string pattern, and wide flat curl ears start from the mouth edge to the upper abdomen. The edges of the animal face are clear, and a pair of triangular eyes and triangular eyeballs are on either side of the straight and wide nose bridge (Fig. 54, 2).
It is closely connected with the second phase of the lower layer of Erligang, and there are a total of 55 pieces of gui, 16 pieces of straight mouth folding along the deep straight abdomen, 28 pieces of mouth folding along the drum abdomen, 5 pieces of open roll along the oblique abdomen, 2 pieces of open roll along the deep abdomen, 1 piece of the mouth roll along the deep abdomen, and 3 pieces of binaural ring. These 3 amphora are all clay pottery, and all of them have been polished and exquisitely made. Zi ZFH1:5 is from a ash pit at the zhengzhou municipal court site, with a residual height of 15.6 and a caliber of 24 cm. Mouth, wide edge folded outwards, neck micro-bundle, abdominal bulge, upper part polished, neck scratched for two weeks, with two crescent-shaped marks. The "C" shaped flat ears are very short, straddling the neck, the ear surface is outlined with a line out of the nose and two circles of eyes to show the animal face, the abdomen and the circle foot are not decorated, but the lower side of the circle foot is thickened out of the skirt (Fig. 55, 1). Gui DHH1:3 is from a ash pit at the Construction Site of Dehua Street, slightly damaged when excavated, and after restoration, the height is 12.8 and the caliber is 31.5 cm. This grate is open, with a large curved edge, a thick lip, an inconspicuous neck, a ventral arc, and a wide animal face band on the abdominal wall, consisting of four sets of wide-line animal face patterns, with a convex string pattern trim on the top and bottom; a pair of "C" shaped ears begin at the mouth edge and join the upper part of the stripe, phototropes; the circle foot is very short, the bottom of the circle and the ground (Fig. 55, 2). Another piece of Gui C5T61:75 was from Nanguan, lost from the lower abdomen, with a residual height of 9.2 and a caliber of 30 cm. Straight mouth slightly, wide flat edge, thick lips. The neck and abdomen are polished, the neck is decorated with a convex string pattern, the upper abdomen is decorated with eight sets of wide-line animal face patterns, which are trimmed with convex chord patterns, and a pair of "C" shaped ears and ornaments are the same as the ZFH1:5 ears, with the bridge of the nose and two eyes outlined on them (Fig. 55, 3) [71].
Six pieces of pottery belonging to the second phase of the upper layer of Erligang were found, also clay gray pottery, of which 4 were folded along the mouth, 1 was in the straight mouth and one in the open folded edge type, and there was no amphora [72].
It can be seen from the pottery excavated from Zhengzhou Shangcheng that although the gui as a container has become the main container of the Erligang stage, the number of amphora forms is small, and the quality is high, mostly polished, and more decorated, especially the DHH1:3 and C5T61:75 of the upper phase of Erligang, which are decorated with wide-line animal face patterns, and the animal face pattern is also very abstract, giving people a strong impression of imitating bronze binaural fins. In contrast to the bronze amphora, the object of imitation is obviously the type of LZM2:2 of the Lijiazui No. 2 tomb. It can be speculated that although the Zhengzhou Mall has not yet seen the excavation of bronze gui, from these imitation copper pottery gui, there were already homomorphic bronze guithers at that time.
Relatively speaking, the number of pottery gui found at the Huangpi Panlongcheng site is very small, only 6 pieces, and the excavation report divides them into two categories, luxury mouth and straight mouth, each with three pieces, except for the Yangjiazui Gui YZT3:21 in the fifth period, two in the sixth period, and three in the seventh period .[73] Compared with Zhengzhou Mall, the situation of Panlong Chenggui seems to be closer to the pattern of the first phase of the lower layer of Erligang, and it is worth studying whether the difference in cultural orientation or the dislocation of the era is worth studying.
As for the site of Wucheng Zhangshu, the excavation report only lists two pieces of pottery, and only the lower abdomen and circle feet are preserved, and the upper part cannot be speculated, but according to other types of pottery such as bowls, pots and bowls, there are almost no pottery with small curls in the Wucheng culture. The relationship between Wucheng culture and The Waterlogged Bronze Gui of Xingan Oceania is not easy to establish at present.
Through the analysis of pottery, especially pottery amphora, it clearly reflects the close relationship between bronze binaurics and the Culture of erlitou in the Central Plains and the culture of the Erligang stage of the Early Shang Dynasty, although there are many exquisite technological inventions in southern Bronze Casting that can even be cool, but it still exists and develops under the pattern of Bronze Art and System in the Central Plains, and there is no so-called independent bronze art and institutional system [75].
VII. Conclusion
The small scroll ear grate is a type of pottery that has appeared in the Erlitou culture and continues to be used in Erligang. This kind of pottery has a better texture and is more refined, and the individual instruments of the Erligang stage, such as those decorated with wide-line animal face stripes, are likely to be imitations of bronze gui, and there is reason to expect such bronze guises to be excavated in the Central Plains. In the Erlitou culture and the first phase of the lower layer of Erligang, the number of gui was very small, but it began to increase rapidly in the second phase, reflecting the difference in the use of the instrument, but its background was still dazed and ignorant.
In the Jianghan Plain, represented by the ruins of Panlong City, there are always not many guises, but two small curly-eared bronze amphorae have appeared, one of which is Yangjiawan Gui, a semi-tubular ear cast and shaped, decorated with animal face patterns; the other is from Lijiazui No. 1 Tomb, the ear is made of animal shape, and the ears are cast after casting the ears in the form of casting riveting. The two types of ornamentation are the same, the age difference should not be large, Yangjiawan Gui primitive, the age should be before Lijiazui, which is quite different from the Yangjiawan tomb, or the tomb is not much later than the Lijiazui tomb, or it is buried with earlier artifacts. The Lijiazui No. 1 tombstone should be regarded as a unique work of the caster to seek the beauty of the gui. Of course, compared with the slightly earlier LZM2:12 of Lijiazui No. 2 Tomb, the casting riveting casting complement casting can be regarded as the efforts of a caster to explore the casting riveting casting.
The success of Li Jiazui No. 1 Tomb Ear Casting Riveting, most likely became a kind of secret skill of the craftsman, carefully passed on to two disciples, one cast the City Solid Fire Knot, and the other cast the Bronze Pavilion. The basic shape and decorative pattern of these three pieces are the same, but the pattern and decoration are different, which can be considered as the result of changes in the times and the expression of the personality of the casting worker. In this way, the age of the three artifacts is also the difference between a generation, perhaps twenty or thirty years. In this way, the bronze pavilion has a beast ear, which can only be regarded as an accidental factor, and cannot become a factor for judging the morning and evening of the artifact. [76] The relationship between the ear and the artifact more than two hundred years later is difficult to discuss in depth, or, as in the case of Eric J. Hobsbawn (1917–2012), a traditional reinvention. Since then, this process has no longer been used to cast bronze grates, but instead cast bronze medallions, followed by bronze cups, koshiki, even square Yi and Gai Niu, etc., which were passed down from generation to generation and cast different utensils, passed down for about ten generations, but the core process remained unchanged and firmly controlled by few casters.[77]
The study of southern bronzes can be summarized according to a considerable number of artifacts to its special style types and process characteristics, but far from all, it is necessary to continuously explore and enrich its connotation, of course, only the discovery and in-depth study of the cast copper site can recognize its basic appearance or complete picture, including whether to cast non-southern style ware.
The dried Oceania waterlogged backguid is typical. In terms of shape and decorative style type, it is quite different from the above four pieces, but the ear shape is close. Its false abdomen shallow abdomen, wide circle feet, rib decoration, swallowtails, etc., all constitute its important characteristics. In terms of craftsmanship, the forming of the ear is different from the Panlong City Yangjiawan Ear Hun Casting and the use of sub-casting, but the first casting is different from Lijiazui, Fire Knot and Bronze Pavilion; its ribs are also cast first, but the casting method is different from the protruding edge casting of the Phoenix Bird Blade Ridge in Qishan Hejia Village and the flat-back casting is adopted, although the technical route is the same, but the process means are different, which fully reflects the personality of the craftsman. The casting of the edge is basically the embodiment of the casting mentality.
Barna has stated that casting originates from recasting. When Hua Jueming et al. studied the casting technology of bronze ware in the tomb of Women's Good, they found that the gilt of the round axe was post-cast in the mortise type, and pointed out that "the gilt of the pottery is the same as the gilt of all pottery is followed", and believes that the casting of the bronze hammer may be inspired by the pottery technology [79]. It is evidence of the close relationship between "pottery", "smelting", "pottery" and "casting" in ancient China. However, the bronze industry may have fully absorbed the technical achievements and essence of pottery as early as the early Bronze Age, and the process design went to its own independent path. Among the 50 jue and 54 pieces excavated in Panlong City[80], there are both those who preceded Lijiazui No. 1 tomb and most of them were later, and only the LZM1:12 and LZM1:13 were cast separately and differently, which were the independent footnotes of "tao" and "casting".
Berger also believes that the caster invented the post-casting from the recasting, and further pointed out that the Shang Dynasty cast bronzes, preferring to pour and form, that is, hun casting, but only in the case of last resort, the casting was occasionally done .[82] This generalization is inevitably general, overemphasizing the principles and habits of craftsmanship and ignoring the personality and demands of craftsmen. In fact, as early as the late period of the Erlitou culture, not only has been invented after casting and casting, but also recently found the first casting of the copper, and the early and middle stage of the bronze large-scale and complex, thanks to the high skill and wide use of the casting and casting process, and even a group of craftsmen for the show of skills and invented some special processes, such as casting riveting casting and the first casting of the edge, and so on.
In addition, there are new discoveries when combing through the casting process of these guises. Bronze gaskets were previously known as bronze fragments with irregular shapes and thickness consistent with the walls. But the four gaskets at the bottom of the Oceania waterlogged back are round, apparently specially cast. Coincidentally, the gasket at the bottom of LZM2:2 of the Lijiazui No. 2 tomb in Panlong City is rectangular and protruding the inner wall of the apparatus, which is also deliberately cast and inserted into the core of the grate when the casting is set, or reflects the initial form of the use of the gasket, but it also shows that there are casters in the south who specially cast specific shapes of the gasket to cast bronzes, adding new content to the understanding of southern style bronzes.
Author's Note: The humble text was originally intended to be presented to Mr. Zhang Changshou and Chen Gongrou, but because the manuscript was in the front, the proposed and "Three Generations of Archaeology" theory of inverted animal face pattern and pot was first presented; it was Professor Niu Shishan's repeated leniency, which could be prepared a little more calmly. The Panlong Chenggui involved in this article is part of the Panlong Chenggui research, a major project of the National Social Science Foundation of China chaired by Professor Zhang Changping. The material of the Bronze Museum was first shown by Professor Han Binghua and prompted the author to add a new example of casting riveting casting. Since 2020, the author has carefully studied this artifact in cooperation with the Shanxi Museum, and this humble article is also a little result of cooperation with the Shanxi Museum. Oceania waterlogged backguids were studied thirty years ago, but the X-rays were donated by Professor Hu Dongbo. During the writing process, Dr. Junko Launeta checked the birth and death of Mr. Wan Jiabao, and Ms. Li Qing arranged to visit the Archaeological Museum of the Institute of History and saw a number of Neolithic small curly-ear pottery. I would like to express my sincere thanks to all of you for your support and assistance.
exegesis
[1] Yue Hongbin, A Study on the Bronze Ceremonial Vessels of Yin Ruins, China Social Sciences Press, 2006, pp. 131-136
[2] Su Honor: "Bronze Ware and Southern Influence of Women's Good Tombs: A New Exploration of southern sources and technology selection of Bronze Art and Technology in Yin Ruins", Research on The Casting Process of Bronze Ware in the Shang Zhou Dynasty, Science Press, 2019, pp. 1-68
[3] Xu Zhongshu, editor-in-chief: Oracle Bone Dictionary, Sichuan Dictionary Publishing House, 1989, p. 485 486
[4] Institute of Archaeology, Chinese Academy of Social Sciences: Yin Zhou Jinwen Integration (vols. 6-8), Zhonghua Bookstore, 1988, 1987
[5] Qian Tao: "Sixteen Changle Tang Ancient Instruments Examination", volume 2, page 7, 1933 Kaiming Bookstore reprinted the jiaqing first year self-engraving
[6] Zhu Fenghan, A Review of Chinese Bronze Ware, Shanghai Ancient Books Publishing House, 2009, pp. 125-135
[7] Yue Hongbin, A Study on the Bronze Ceremonial Vessel of Yin Ruins, China Social Sciences Press, 2006, pp. 51-59
[8] Zhu Fenghan, A Review of Chinese Bronzes, Shanghai Ancient Books Publishing House, 2009, pp. 124-135, 918, 928
[9] Yang Xizhang, Gao Wei, eds., Chinese Archaeology, Xia Shang Volumes, China Social Science Press, 2003, pp. 188, 198-200
[10] Hubei Institute of Cultural Relics and Archaeology: Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, pp. 441-446
[11] Zhang Changping, Sun Zhuo, "Research on the Layout of Panlong City Settlements", Journal of Archaeology, No. 4, 2017, pp. 439-460
[12] Hubei Institute of Cultural Relics and Archaeology: Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, pp. 181 199, 203 fig. 138.1-4, plate 60.2, color edition 26
[13] Editorial Board of Chinese Bronze Ware: The Complete Works of Chinese Bronze Ware, Vol. 1, Cultural Relics Publishing House, 1996, Figure 164
[14] MaxLoehr.TheBronzeStylesoftheAnyangPeriod(1300-1028B.C.). ArchivesoftheChineseArtSocietyofAmerica,1953(7):42-53; MaxLoehr.RitualVesselsofBronzeAgeChina.NewYork:TheAsiaSocietyInc.,1968:11-16,26-36.
[15] Hubei Institute of Cultural Relics and Archaeology: Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, p. 199; Hu Jiaxi, Li Taoyuan, Li Xiuhui et al., "Discussion on the Casting Process of Bronze Ware at the Site of Panlong City", Panlong City: Archaeological Excavation Report from 1963 to 1994, Appendix VII, p. 587
[16] Hua Jueming, Feng Fugen, Wang Zhenjiang, et al., "Research on the Casting Technology of Bronze Ware Groups in women's good tombs", Journal of Archaeology (1st volume), China Social Science Press, 1981, pp. 244-272
[17] Su Honor Zhang Changping, "Research on the Casting Process of Panlong City Bronze Ware", Proceedings of the International Symposium on Panlong City and Yangtze River Civilization, Science Press, 2016, pp. 118-137
[18] Hubei Provincial Museum: "Bronzes from the Erligang Period of the Shang Dynasty in Panlongcheng", Cultural Relics, No. 2, 1976, p. 37
[19] Hua Jueming, Feng Fugen, Wang Zhenjiang, et al., "Research on the Casting Technology of Bronze Ware Groups in the Tomb of Women's Good Tombs", Archaeological Journal (Vol. 1), China Social Science Press, 1981, pp. 264 265 [20] Robert W.Bagley.TheZhengzhouPhase (TheErligangPeriod).inFongWened., TheGreat BronzeAge ofChina, AnExhibitionfromthePeople’sRepublicofChina,NewYork:TheMetropolitanMuseumofArt,1980:105-106; RobertW.Bagley.ShangRitualBronzesintheArthurM.SacklerCollections.WashingtonDC:TheArthurM.SacklerFoundation,1987:42; Henan Provincial Museum: "Several Pieces of Warring States Bronze Artifacts Excavated from Shangcunling, Sanmenxia City, Henan", Cultural Relics, No. 3, 1976, No. 54 11, but the following article believes that the specific process is "the body and earrings are cast separately, and then riveted into one", the understanding of the casting is correct, but the view of riveting is not accurate, it should be a cast rivet casting structure
[21] Hu Jiaxi, Li Taoyuan, Li Xiuhui et al., "Discussion on the Casting Process of Bronze Ware at the Site of Panlong City", Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, pp. 586, 587, Appendix VII
[22] Henan Institute of Cultural Relics and Archaeology: Zhengzhou Shangcheng: Archaeological Excavation Report from 1953 to 1985, Cultural Relics Publishing House, 2001, p. 815 821, Figure 548 552.2; Hubei Provincial Institute of Cultural Relics and Archaeology: Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, pp. 168-269 175 176, Figure 110 116
[23] Zhang Changping, Sun Zhuo, "Research on the Layout of Panlong City Settlement", Journal of Archaeology, No. 4, 2017, pp. 439-460; Hubei Provincial Institute of Cultural Relics and Archaeology: Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, pp. 217-228
[24] Hubei Institute of Cultural Relics and Archaeology: Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, pp. 217 263-266
[25] Hubei Provincial Institute of Cultural Relics and Archaeology: Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, pp. 283 286, p. 290, Figure 213.3-5, Plate 92.3, Color Edition 39.2
[26] Hu Jiaxi, Li Taoyuan, Li Xiuhui et al., "Discussion on the Casting Process of Bronze Ware at the Site of Panlong City", Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, p. 582, Appendix VII
[27] Zhang Changping, Tenwa Takashi Hirosetsu, "On the Casting Technique of Bronze Gui in the Shang and Zhou Dynasties," Archaeology, No. 10, 2012, p. 63
[28] Wang Shouzhi, "Shang Dynasty Bronzes Excavated from Chenggu, Shaanxi", Wenbo, No. 6, 1988, pp. 3-9
[29] The Complete Works of Chinese Bronzes, Vol. 1, Figure 60; Cao Wei editor-in-chief: "Bronzes excavated from the Shang Dynasty in Hanzhong", volume 1, Bashu Book Society, 2006, pp. 40-41 The size and weight of this vessel are different from Wang Shouzhi's bibliography From then on, wang shi ji tong height 16.5 mouth width 26.3 abdomen depth 12 feet height 4.5 foot diameter 18 cm, weight 4.36 kg (Wang Shouzhi: "Shang Dynasty bronzes excavated from Chenggu, Shaanxi", Wenbo, 1988, No. 6, pp. 3-9)
[30] Zhao Congcang, "A Comprehensive Study on the Bronze Ware Group in Chengguyang County", Wenbo, No. 4, 1996, pp. 3-26; Zhao Congcang, editor-in-chief: Chengyang Bronze Ware, Science Press, 2006, p. 13, plate 72~75
[31] Jiangxi Institute of Cultural Relics and Archaeology Jiangxi Provincial Museum Xingan County Museum: The Great Tomb of the Shang Dynasty in Xingan, Jiangxi, Cultural Relics Publishing House, 1997, pp. 1-7; Peng Minghan, "A New Exploration of the Nature of Shang Dynasty Remains in Xingan Oceania, Jiangxi: Discussion with Tombs", Central Plains Cultural Relics, No. 1, 1994, pp. 16-19
[32] The Tomb of the Shang Dynasty in Xingan, Jiangxi, p. 57, Figure 33 Color Edition 15.1 Plate 17.1; The Complete Works of Chinese Bronzes Zhu Fenghan and Yue Hongbin both followed the excavation reports (The Complete Works of Chinese Bronzes, Vol. 4, Figure 173; Zhu Fenghan: A Review of Chinese Bronzes, p. 1197; Yue Hongbin: "Research on the Bronze Ceremonial Vessels of Yin Ruins", p. 410 Figure 22 The bibliography of the renamed Gui is as follows: "Bronze Kingdom in the Middle Reaches of the Yangtze River: Bronze Art Unearthed in Xingan, Jiangxi" (Jiangxi Provincial Museum, Shanghai Museum, Edited by Liangmu Publishing House, 1994, No. 21) and "Relics of the Shang Dynasty: Fine Cultural Relics Excavated from Jiangxi Xingan Oceania" (Shenzhen Museum, Jiangxi Provincial Museum, Jiangxi Provincial Museum, Cultural Relics Publishing House, 2010, p. 66)
[33] Su Honor, et al.: "Research on the Casting Process of The Bronze Ware of the Tombs of the Xingan Shang Dynasty", Appendix IX of the Tombs of the Xingan Shang Dynasty, Cultural Relics Publishing House, 1997, pp. 257-300 This article is consistent with the excavation report, called "Shang Dynasty Tombs" and "Disks", and was later corrected in Su Honor's "Research on the Casting Process of the Shang Dynasty Bronze Group in Xingan Oceania", see: "Mill: Su Honor Self-Selected Collection", Shanghai People's Publishing House, 2012, pp. 63-116 [34] Su Honor Hu Dongbo: The Use and Abuse of Gaskets in Shang Zhou Zhu Ji Jin Zhong", Inaugural Issue of the Journal of Rao Zong Yiguo Academy, 2014, pp. 101-134 [35] Su Honor: "Seeing Micro Knowledge: Gaskets and Related Problems of Ancient Chinese Bronzes", Guobo Lecture Hall (2013-2014), Shanghai Ancient Books Publishing House, 2016, pp. 115-166
[36] Shanxi Provincial Public Security Department Shanxi Provincial Cultural Relics Bureau: "National Treasure Homecoming: The Quintessence of 2018 Shanxi Public Security Organs' Achievements in Combating Cultural Relics Crimes", Cultural Relics Publishing House, 2018, pp. 88 89
[37] Hubei Provincial Institute of Cultural Relics and Archaeology: Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, pp. 174 175, p. 175, Fig. 116.1, Plate 49.3, Color Edition 17.1
[38] Yue Hongbin, A Study on the Bronze Ceremonial Vessels of Yin Ruins, China Social Sciences Press, 2006, pp. 51-59
[39] Institute of Archaeology, Chinese Academy of Social Sciences: "The Tomb of Yin Xu Women", Cultural Relics Publishing House, 1980, page 50, page 30, Figure 19.6, Plate 17.2-3; The Complete Works of Chinese Bronzes, Vol. 2, Cultural Relics Publishing House, 1997, Figure 95
[40] Institute of Archaeology, Chinese Academy of Social Sciences: "The Tomb of Yin Xu Women", Cultural Relics Publishing House, 1980, pp. 46 49, plate 15.2-3; Su Honor, "Southern Factors of the Shang Dynasty on the Origin of Bronze Technology in Anyang Yin Ruins: A Preliminary Discussion on the Case of Cast Riveting Structure and the Age and Attributes of the Fengzhu Axe in the Izumiya Boguguan Collection", "Izumiya Insight: Analysis of The Transmission Scan of the Bronze Artifact of Izumiya Bokokan", Science Press, 2015, pp. 352-386
[41] Su Honor: "The Copper Horn Shen Theory of Erlitou Culture Excavated from Luoning and Shangbo Collection", The 2nd World Ancient Capital Forum and Symposium commemorating the 60th Anniversary of the Scientific Excavation of Erlitou Site, 2019.10.19~20, Luoyang; Su Honor: "Preliminary Discussion on the First Casting of Bronze Containers in The Title Ridge", Baoji Daijiawan, Shigushan and Anyang Excavated Bronze Ware and Tao Fan Academic Seminar, 2015.11.30~12.4, Beijing- Xi'an - Baoji
[42] Institute of Archaeology, Chinese Academy of Social Sciences: Erlitou (1999-2006), Cultural Relics Publishing House, 2014, p. 91, color edition 215.3
[43] Institute of Archaeology, Chinese Academy of Social Sciences: "The Tomb of The Good Women of Yin Ruins", Cultural Relics Publishing House, 1980, p. 66, color edition 5.2; The Complete Works of Chinese Bronzes, Vol. 3, Cultural Relics Publishing House, 1997, Figure 73
[44] Li Ji Wan Jiabao: A Study of The Bronze Vessels Unearthed from The Yin Ruins of Wu Shisan (The Fifth Edition of the Special Issue on The Study of Ancient Artifacts), published by the Institute of History and Linguistics, 1972, plate 16
[45] Institute of Archaeology, Chinese Academy of Social Sciences: "The Tomb of Yin Xu Women", Cultural Relics Publishing House, 1980, p. 49, plate 16.1; Hua Jueming, Feng Fugen, Wang Zhenjiang, et al., "Research on the Casting Technology of Bronze Ware Groups in women's tombs", Archaeological Journal (1st volume), China Social Science Press, 1981, p. 267 Table VI
[46] Su Honor Zhang Changping, "Research on the Casting Process of Panlong City Bronze Ware", Proceedings of the International Symposium on Panlong City and Yangtze River Civilization, Science Press, 2016, pp. 118-137
[47] Hubei Institute of Cultural Relics and Archaeology: Panlong City: Archaeological Excavation Report from 1963 to 1994, Cultural Relics Publishing House, 2001, pp. 191 192 194, 195 fig. 131.1-2, 192 p. Fig. 129.7-8, plate 58.1 57.3
[48] Su Honor Zhang Changping, "Research on the Casting Process of Panlong City Bronze Ware", Proceedings of the International Symposium on Panlong City and Yangtze River Civilization, Science Press, 2016, pp. 118-137
[49] Su Honor Zhang Changping, "Research on the Casting process of Panlongcheng Bronze Ware", Proceedings of the International Symposium on Panlongcheng and Yangtze River Civilization, Science Press, 2016, pp. 118-137
[50] The Complete Works of Chinese Bronzes, Vol. 1, Cultural Relics Publishing House, 1996, Figure 12 14-16
[51] Shaanxi Provincial Museum, Shaanxi Provincial Cultural Relics Administration Committee: "Western Zhou Tombs in Hejia Village, Qishan, Shaanxi", Archaeology, No. 1, 1976, pp. 31-38; Shaanxi Provincial Institute of Archaeology Shaanxi Provincial Museum Shaanxi Provincial Cultural Relics Management Committee: "Shaanxi Excavated Shang Zhou Bronze Ware", Cultural Relics Publishing House, 1980, Figure 2; The Complete Works of Chinese Bronzes, Vol. 4, Cultural Relics Publishing House, 1998, Figure 59-61; Lin Hu: "A Re-study of the Relationship between Shang Culture Bronze Ware and Bronze Ware in Northern China", Lin Hu Academic Anthology, China Encyclopedia Publishing House, 1998, pp. 262-288
[52] Su Honor, "Analysis of the Casting Process of Fengzhu Huo, a Merchant Unearthed in Qishan Mountain, and Discussion on Related Problems", "Discussion on the Balance of The Two Weeks of Sealing the Country: Proceedings of the International Symposium on the Study of the Cultural Relics of the Rui State Unearthed in Hancheng, Shaanxi Province and the Archaeology of the Zhou Dynasty", Shanghai Calligraphy and Painting Publishing House, 2014, pp. 551-563
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[54] Izumiya Bokokan: Izumiya Bogu: Chinese Bronze Ware Compilation, Khan Niu Bookstore, 2002, pp. 47-195; Hamada Farming: Izumiya Kiyomi, 1918, Figure 88; Rong Geng: "Shang Zhou Yi Instrument Tongkao", Harvard Yenching Society, 1941, p. 382, Figure 456
[55] Su Honor, "Southern Factors of the Shang Dynasty on the Origin of Bronze Technology in Anyang Yin Ruins: A Preliminary Discussion on the Case of Cast Riveting Structure and the Chronology and Attributes of the Fengzhu Axe In the Izumiya Boguguan Collection", "Izumiya Insight: Analysis of the Transmission Scan of the Bronze Artifact of Izumiya Bokokan", Science Press, 2015, pp. 352-386
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[57] JohnA.Pope,RutherfordJ.Gettens,JamesCahill,andNoelBarnard.TheFreerChineseBronzes,VolumeI:Catalogue,pp.40-45,plate4, g.6; The Complete Collection of Chinese Bronzes, Vol. 3, Cultural Relics Publishing House, 1997, Figure 91 The two set the age of this artifact as a late Shang, which is obviously lost late
[58] Su Honor, "Bronze Craftsmanship and Bronze Style Chronology and Origin: On the Bronze Four-Eared Grates and The Bronze Ornamental Bronze Ware of the Late Shang Dynasty and the Early Zhou Dynasty", Studies in Art History (No. 16), Sun Yat-sen University Press, 2014, pp. 97-143
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[68] The Complete Works of Chinese Bronzes, Vol. 4, Cultural Relics Publishing House, 1998, Figure 125; The Complete Works of Chinese Bronzes, Vol. 2, Cultural Relics Publishing House, 1997, Figure 114
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(Author: Su Honor, Institute of Natural Science History, Chinese Academy of Sciences; originally published in: Three Generations of Archaeology (IX), Institute of Archaeology, Chinese Academy of Social Sciences, Xia Shangzhou Archaeological Research Office, Science Press, 2021)