Jessica Rawson

Chinese jade : from the Neolithic to the Qing

Jade in the Early Neolithic period animal figures from the Late Neolithic to Western Zhou periods incised designs from the Shang and Western Zhou periods discs, pendants and ornaments from the Eastern Zhou period human figures from the Shang to Han dynasty ornaments of the Tang to Yuan dynasties ornaments of the Ming and Qing dynasties later animal and human figures jade vessels and decorative pieces.

Tracing the flows of copper and copper alloys in the Early Iron Age societies of the eastern Eurasian steppe

Abstract Early Iron Age pastoralists of the Eurasian steppes relied heavily on copper for weapons and ornaments, and new analysis of metal composition enables long-distance networks to be identified. Primary circulation from source areas where copper was mined can be distinguished alongside the secondary circulation of alloy types with high proportions of tin-bronze or leaded tin-bronze. The relative presence of trace elements, depleted during recycling events, provides a proxy for the flow of metal between regions. The localised seasonal movements characteristic of these mobile steppe societies underlie some of these patterns, but the evidence also indicates more extensive transfers, including the direct movement of finished objects over considerable distances.

Shimao and Erlitou: new perspectives on the origins of the bronze industry in central China *

Over the last five years, excavation of a large, stone, fortified site at Shimao, on the northern edge of the Loess Plateau in Shaanxi Province, China, has radically changed our understanding of the events that precipitated the development of the first bronze casting in central China at Erlitou (Figure 1). An international conference on the Shimao site, held at Shenmu in August 2016, explored many aspects of this major discovery.

Bronze Age metal circulation in China

Abstract The Shang (c. 1500–1045 BC) and Zhou dynasties (c. 1045–771 BC) of China are famous for their sophisticated ritual bronze vessels. Sourcing the leaded tin-bronze has, however, proved to be a challenge. A new systematic approach to metal chemistry uses trace elements and isotopes to characterise the underlying circulation pattern. It reveals the complexity of the copper sources on which the late Shang capital at Anyang depended for its bronzes, suggesting the transport of copper from distant regions in the south, on the Yangtze, and from north-east China. The new interpretational system furthers our understanding of the network on which successive Chinese dynasties depended for copper, lead and tin, and attempts to give equal weight to the archaeological and chemical data.

Revisiting lead isotope data in Shang and Western Zhou bronzes

Abstract Lead is a major component of Chinese ritual bronze vessels. Defining its sources and usage is thus highly significant to understanding the metal industries of the Chinese Bronze Age. A new, simplified method has been developed for examining data, thereby providing insight into diachronic change in the origins of lead sources used in artefacts. Application of this method to the existing corpus of lead isotope data from the Erlitou (c. 1600 BC) to the Western Zhou (c. 1045–771 BC) periods reveals changes in the isotope signal over this time frame. These changes clearly reflect shifts in the sourcing of ores and their use in metropolitan foundries. Further data are required to understand these complex developments.

The power of images: the model universe of the First Emperor and its legacy

Elaborately glazed Chinese pottery figures of camels and servants, dating to the Tang dynasty (A.D. 618–906), have been much prized by collectors and museums over the last three quarters of a century. They have been readily admired as a category of sculpture, but little attention has been paid to their functions within the tomb complex. An examination of the tomb of the First Emperor (d. 210 B.C.) reveals tomb figures as just one part of a large complex of structures and images. The famous terracotta warriors were an element in the elaborate burial of the Emperor, which also included ‘real’ people and animals, miniature bronze chariots, models of palaces and images of the heavenly bodies. If we are to understand the purposes of this complex of many different parts, we need to consider how the ancient Chinese viewed images of all categories. It would appear that in the eyes of the ancient Chinese, images were equivalent to the subject of the image. By creating images in bronze, pottery or in pictures, the ancient Chinese were presenting a universe for the dead Emperor. This article describes the philosophical concepts that informed this understanding of images and illustrates the discussion with archaeological finds and textual information. The archaeological discoveries of recent years have made a reassessment of Chinese tomb models necessary. The powers of these images were deemed to be considerable. The Chinese have never collected tomb figures because, in their view, such figures were the actual servants and soldiers of the dead.

China and the steppe: reception and resistance

Abstract The development of several key technologies in China—bronze and iron metallurgy and horse-drawn chariots—arose out of the relations of central China, of the Erlitou period (c. 1700–1500 BC), the Shang (c. 1500–1046 BC) and the Zhou (1046–771 BC) dynasties, with their neighbours in the steppe. Intermediaries in these exchanges were disparate groups in a broad border area of relatively high land around the heart of China, the Central Plains. The societies of central China were already so advanced that, when these foreign innovations were adopted, they were transformed within highly organised social and cultural systems.

Inside out: creating the exotic within early Tang dynasty China in the seventh and eighth centuries

Abstract Highly coloured, lead glazed ceramic vessels of the early Tang period, known as sancai, or three colour ware, take on unusual shapes and decoration often reminiscent of earlier metalwork from Iran. The paper examines possible sources of this flamboyant and apparently outside appearance to argue that the sancai was not directly based on Iranian metal work or ceramics. Rather the wares were produced in a context in which the Tang seem to have wished to foster a cosmopolitan court that matched their political aspirations. Sancai seems to have been deliberately concocted to create an impression of contact with Central Asia and places further west, without in fact being a direct product of such relations. Sancai was produced at kilns in China. Tomb figures of horses, camels, dancers and musicians, likewise, suggested a flourishing trade with Central Asia. As both the vessels and the figures were intended for burial, it seems that the élite wished to perpetuate after death their aspirations to be affiliated with a power with extensive continental connections.

Beyond ritual bronzes: identifying multiple sources of highly radiogenic lead across Chinese history

One of the greatest enigmas in the study of Bronze Age China is the source of highly radiogenic lead discovered in the copper-based objects of the Shang period (ca. 1500–1046 BC). Although being relatively rare in nature, such lead contributed over half of the lead consumed across a vast area from the Yellow River to the Yangtze. Identifying its source and supply network would significantly contribute to our understanding of how China achieved the largest metal production across Eurasia. The past thirty years of research have seen various proposals for the origin of this lead, including south-western China, the middle Yangtze River valley, the Qinling and Zhongtiao mountains, and even Africa. This paper attempts to illustrate the tempero-spatial pattern of this highly radiogenic lead using the largest possible databank. Furthermore, by going beyond the bronze data and investigating lead isotopes in non-metal objects, we confirm that multiple sources of highly radiogenic lead must have been used across Chinese history. In turn, this implies the feasibility of a multi-source model for the lead in the Shang bronzes.

A new approach to the chronology of caves 268/272/275 in the Dunhuang Mogao Grottoes: combining radiocarbon dates and archaeological information within a Bayesian statistical framework

The construction chronology of three of the earliest Dunhuang Mogao Grottoes (Caves 268, 272, and 275) has been the subject of ongoing debate for over half a century. This chronology is a crucial topic in terms of further understanding of the establishment of the Dunhuang Mogao Grottoes, early Buddhism in the Gansu corridor, and its relationship with Buddhism developed in the Central Plains. Building upon archaeological, art historical and radiocarbon (14C) dating studies, we integrate new 14C data with these previously published findings utilizing Bayesian statistical modeling to improve the chronological resolution of this issue. Thus, we determine that all three of these caves were constructed around AD 410–440, suggesting coeval rather than sequential construction.