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.
Rediscovering the Idea of Cultural Heritage and the Relationship with Nature: Four Schools of Essential Thought of the Ancient Han Chinese