Shang And Zhou Bronze Art Identity

This dissertation studies the bronze art of Shang and Zhou Dynasties from the perspective of art-anthropology. Starting from the particular identification functions of the bronze art of the Shang and Zhou Dynasties, this dissertation explores its inherent relations with the Chinese people of ancient times, thus revealing the specific ways of living of the ancient Chinese people reflected in the bronze art. The theoretical appeal of this dissertation is to display the applicability of art-anthropology to the interpretation of arts of ancient times and explore the underlying relationships between man and arts through the relocation and re-interpretation of the bronze art of Shang and Zhou Dynasties.By adhering to the principle of integrating logics into the study of the history of the bronze art, this dissertation evolves around the identification functions of the bronze art in the following logical sequence:The Introduction gives a review of the research that has been done on the bronze art of Shang and Zhou Dynasties. By discussing the paradigm shifts in the study of the bronze vessels of Shang and Zhou Dynasties, the author of this dissertation points it out that it is a new orientation to study the bronze art of Shang and Zhou Dynasties from the perspective of art-anthropology, which meets the inherent requirements of the current studies on that subject. Then the author analyzes the problems to be solved and explains the principles and methods applied in this research.Chapter One is a brief summary of the historical background of the bronze art of Shang and Zhou Dynasties. As a part of the Chinese cultural system of that period, the bronze art displays distinct local features. This chapter first discusses the logical relationships between the bronze vessels and the geographical conditions, climate and produces of their places of origin. Next, this chapter examines the cultural prerequisites of the bronze art and investigates the influences of technology, institutions and religious beliefs on the creation and development of the bronze art of Shang and Zhou Dynasties.Chapter Two is a discussion of the relationships between the bronze art of Shang and Zhou Dynasties and being of gods. Chapter Two falls into three sections. Section One reveals the historical formation and the particular implications of being of gods. Section Two describes the tri-fold features of the bronze vessels coexisting with being of gods: practicability, sacredness and ceremonialism. On the basis of the previous two sections, Section Three makes a description of the circumstances under which the bronze art was present and reveals its two features: emerging in groups and being displayed in ceremonies. This chapter then describes how the bronze vessels were identified with gods when the ceremonies were performed. Accordingly, the bronze art acquired the function of identifying with gods.Chapter Three discusses the relationships between the bronze art of Shang and Zhou Dynasties and being of men. Being of men was a direct reflection of the relationships between men in the reality. Starting from the identification function of the bronze art, this chapter mainly discusses three types of identities of being of men: identity of families, identity of hierarchies and identity of cultures. This chapter then discusses the connotations of these three types of identities, the different manifestations when the bronze bring into play the three identification functions, its operating mechanism and the historical causes.Chapter Four discusses the loss of the identification functions of the bronze art of Shang and Zhou Dynasties and its declination. Section One summarizes the changes in the environment of existence of the bronze art after the Eastern Zhou Dynasty. Section Two discusses the disintegration of the peerage of Shang and Zhou Dynasties, the loss of the identification functions of the bronze art and its consequent secularization. After the new peerage had been established, the bronze art lost its special functions and declined.The Conclusion of this dissertation reaffirms the corresponding relationships between the identification functions of the bronze art of Shang and Zhou Dynasties and its environment of existence and points it out that the inherent relations of the bronze art with the people living in Shang and Zhou Dynasties is one of the causes of the creation and evolution of the bronze art of that era.