Ancient art, new bridge

Heavenly Craftsmanship

The first section of the exhibition is titled "Heavenly Craftsmanship", highlighting the technical marvels and aesthetics of Shanxi's ancient bronze ware.

Liang said that an outstanding feature of Shanxi's bronze ware is the perfect balance of functionality and aesthetics, even for those dating to the Xia (c. 21st century-16th century BC) and Shang (c.16th century-11th century BC) dynasties.

"The bronze items of the Xia and Shang dynasties, simple as they are, never lack symbolism," Liang said. "The typical patterns show the unique cultural connotation of those periods. For instance, the pattern of taotie — a legendary ferocious beast in Chinese mythology — was meant to arouse senses of awe and respect among the subjects of the empires."

In the periods that followed, especially in the Spring and Autumn Period (770-476 BC), patterns on the bronze items grew more complicated and exquisite, as the Shanxi exhibits show. The official said the rich forms of patterns — such as beasts, birds, clouds and waves — and the higher degree of abstraction were believed to have developed alongside the technological advancements of the period and tailored to different ritual scenarios.

He added that the bronze items in the later periods also display a deeper integration of functionality and aesthetics.

A square-based and round-mouthed bronze zun — or wine vessel — on display at the Tbilisi museum, for instance, illustrates this integration.

The vessel, featuring an abstract dragon pattern on its neck and wave pattern on its body, is supported by a square base.

"The square base was meant to make the vessel stable," said the Shanxi Museum official. "However, it also has a symbolism echoing the pattern motifs above."

"In ancient China, the square symbolized the Earth, just like the circle symbolized the sky or heaven," Liang said. "The dragon is the totem of the Chinese nation, symbolizing the majesty of sovereigns and having a presence on the Earth, in the sea and in heaven."

Liang further explained the symbolic meanings of various motifs, aiming to give audience members a better understanding of the cultural connotations of ancient Chinese bronze ware.

The beast-face pattern, for instance, is common on bronze items of the Shang and Zhou (c.11th century-256 BC) dynasties. It usually features protruding eyes and an exaggerated wide mouth. With a strong religious sense and awe-inspiring power, the pattern is regarded as a link among human beings, the world and heaven.

The coiling chi pattern — or interlaced hydra pattern — is mostly seen on bronze items from the Spring and Autumn Period and the Warring States Period (475-221 BC).

In Chinese mythology, chi is a hornless dragon featuring a dragon's head and snake's body. It symbolizes the continuation of life and lasting vitality.

The feather-and-wing pattern, which began to be used in the Shanxi region during the late Spring and Autumn Period, symbolizes the people's aspiration to ascend to heaven after death. It can also be interpreted as the soul's revival. "With a flying-and-flowing rhythm and the beautifully abstracted design, the pattern represents an extremely high level of Chinese bronze ware art," said Liang.

During the exhibition, locals also discovered the unique features of bronze items.

Elene Khurtsilava, a staff member at the Georgian National Museum, said the fu — a bronze container of grains — is her favorite exhibit.

She noticed that the item features a body and a cover of the same shape. "You can put it upside down, and it just looks the same," she said. "It can also be used as two separate utensils."

On her social media account, Khurtsilava said: "I strongly recommend this exhibition, which, I believe, will be an unforgettable and impressive journey to experience ancient Chinese culture."