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