Most line designs used on bronze combine a main motif with a border design, emphasizing its three-dimensional character. The “beast of gluttony” design was the most prominent in Shang Dynasty (16th-11th century BC) vessels. A profile of two separate symmetrical beasts was embossed on the vessel, which, when viewed from the front, combined their features into one bestial form. After the Western Zhou period (11th century to 771BC), bird designs gradually became popularized as the main decorative designs, still maintaining the principle of symmetry. After the mid and late Western Zhou period, chain-link patterns, fish-scale patterns and wave patterns superseded animals as the main subject matter for bronze vessels. The principle of symmetry began to break up at this point and was substituted by recurring chain links or band designs that encircled the vessel’s body. After the mid Spring and Autumn period (770-476BC), the most frequently used design was a vertical interlocking geometrical animal band design. In the Shang Dynasty, the border design used to complement the main design included clouds and lightning. Beginning in the mid-Western Zhou, the designs became increasingly sparse, and border designs eventually became obsolete. After the Spring and Autumn period, the “sprouting grain” and other designs began appearing in borders.
The techniques used in executing various bronze designs went from engraved lines and embossed designs used in earlier periods to deep reliefs and three-dimensional sculpture-like designs, and, eventually, even to inlaid designs. Materials used for inlays included gold, silver, copper and turquoise. Subject matter for inlaid work included animals, along with interlocking geometrical shapes based on straight lines, diagonal lines and whorled lines. These were added purely for decorative purposes, and were intricately and handsomely crafted.
Over the millennia, bronze articles exposed to high humidity or buried underground underwent a natural process where they developed a bright and beautiful coating, or patina, which served as a protective coating. The color itself, however, which ranges from rouge red to emerald green to sapphire blue, imparts added beauty and elegance to the vessel. The Chinese are particularly fond of this colorful coating and struggle to preserve it.
In today’s People’s Republic of China, the beauty of traditional bronze art can still be found in incense burners and sacrificial vessels in temples, in statues on display in schools, or in decorative pieces in homes — all of which have been influenced by the art of China’s ancient bronze. Free application of traditional bronze designs has become an indispensable element of modern architecture, apparel and furniture design. This is one way that the brilliance and artistry of the early Chinese continue to permeate the lives of Chinese today.
（Source: chinaculture.org）
