Copper granulation: scientific analysis on the ornaments from the coronet of Lady Pei of the early Tang Dynasty (618–712 A.D.) in Xi’an, Shaanxi, China

2019 ◽  
Vol 11 (12) ◽  
pp. 6603-6613
Author(s):  
Panpan Tan ◽  
Junchang Yang ◽  
Yaozheng Zheng ◽  
Junkai Yang
2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Panpan Tan ◽  
Junchang Yang ◽  
Xinlai Ren

AbstractSilver art is an important feature of the Tang dynasty in China and the manufacturing center for silver shifted from north to south after the mid-eighth century CE. The typology, stylistics, and iconography of silver vessels from both regions have been studied in detail. However, their technical characteristics have rarely been discussed, in particular, those of the southern ones. The current study presents a non-invasive scientific analysis on a partially-gilded silver box from Jiangnanxidao of Tang (southern China), uncovered from the pagoda crypt of the Famen Monastery, Shaanxi province. The results reveal that the box was made of refined silver from cupellation, and composed of five pieces, brazed together with hard solder. Ag–Cu alloy was identified to braze the ring foot and the box bottom. Brazing, hammering, engraving, repoussé, chasing, punching, and partial fire-gilding were employed to shape and decorate the box. More strikingly, the comparative analysis of technical details between this southern box and the previously reported northern silver vessels demonstrates that the former is more precise. Moreover, the similarities in motif expressions of southern-origin silver vessels after the mid-eighth century CE and northern-origin silver vessels before the mid-eighth century CE reflect the inheritance of decorative style. These differences and inheritance indicate that southern artisans after the mid-eighth century CE inherited the decorative technology of the northern-origin silver vessels before the mid-eighth century CE and developed them to greater perfection. The current study presents novel insights into the silver technology of southern China during the late Tang dynasty.


Religions ◽  
2021 ◽  
Vol 12 (7) ◽  
pp. 508
Author(s):  
Ann Heirman

Buddhist texts generally prohibit the killing or harming of any sentient being. However, while such a ban may seem straightforward, it becomes much more complex when annoying or dangerous animals are involved. This paper focuses on one such animal—the rat. These rodents feature prominently in monastics’ daily lives, so it should come as no surprise that both Indian and Chinese Buddhist masters pay attention to them. In the first part of the paper, we investigate the problems that rats can cause, how monastics deal with them, and what the authors-compilers of Buddhist vinaya (disciplinary) texts have to say about them. In the second part, we focus on how Daoxuan 道宣 (596–667)—one of the most prominent vinaya masters of the early Tang Dynasty—interprets the vinaya guidelines and their implementation in Chinese monasteries. As we will see, he raises a number of potential issues with regard to strict adherence to the Buddhist principles of no killing and no harming, and so reveals some of the problematic realities that he felt monastics faced in seventh century China.


2020 ◽  
Vol 73 (3) ◽  
pp. 375-383
Author(s):  
Sun Jianqiang

ABSTRACTThe present paper represents the first attempt to expand Dou Huaiyong’s recent contributions to the field of the Chinese name-taboo practice or bihui 避諱. Exclusively dealing with gaixing 改形 (modify the shape), a taboo method recognized only by Dou Huaiyong, the paper delves into his use of the term gaixing and a group of orthographies that might overthrow the recognition. Although it abandons the term gaixing and promotes a new phrase gaijian 改件 (modify the components), the paper finds Dou Houiyong’s core conclusion agreeable, taking gaijian as a taboo method that appeared in the year 658 by analyzing 500 stones carved between 618 and 663. While doing so, this paper introduces for the first time gaijian to the English scholarship, proposing to re-examine how the Chinese name-taboo practice developed in the early Tang dynasty.


2021 ◽  
Author(s):  
Panpan Tan ◽  
Junchang Yang ◽  
Xinlai Ren

Abstract Silver art is an important feature of the Tang dynasty in China and the manufacturing center for silver shifted from north to south after the mid-8th century CE. The typology, stylistics and iconography of silver vessels from both regions have been studied in detail. Moreover, the analysis of northern-origin silver vessels has garnered significant attention in recent years. However, the technological characteristics of southern silver vessels are unknown. The current work presents a non-invasive scientific analysis on a partially-gilded silver box from Jiangnanxidao of Tang (China), which was uncovered from the pagoda crypt of the Famen Monastery in Fufeng County, Shaanxi province. The analytical results reveal that the box was made of high-quality silver, smelted by cupellation, and composed of five pieces, which were bonded together with some sort of a soldering alloy. The ring foot was brazed to the bottom of box with Ag–Cu alloy. Hammering, brazing, engraving, repoussé, tracing and partial fire-gilding were employed to shape and decorate the box. One should note that these techniques are commonly observed in Tang silver vessels. Besides, the production and decorative procedures were identified through the tool marks. More strikingly, the comparison of tracing details between the southern box, presented here, and the previously reported northern silver vessels demonstrates that the former is more precise in terms of decorative details. Moreover, the similarities in motif expressions of southern-origin silver vessels after the mid-8th century and northern-origin silver vessels before the mid-8th century reflect the inheritance of decorative style, whilst the differences in technical skills indicate the evolution of decorative techniques, which attained high perfection by the southern silversmiths after the downfall of northern China. The current study presents novel insights into the silver technology of southern China during the late Tang dynasty.


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