The New Changes of China Bronze in the Second Peak
The appearance of the second peak of China bronze sculpture can not be cut the connection with implementation of a series of new technologies. In the middle Spring and Autumn Period, the patterns inlaid with red copper commence to prevail, including the piercing inlay can be seen on both sides. Subsequently, the gold-silver-inlay decoration and inscriptions spring up and bring new and colorful flavor to China bronze. To the Warring States, owning to the shaper tools (steel), line engraved pattern pop up. Next, the technique of gold-silver-gilt is also widely prevalent, and the colored drawing as well.
Also special mention demanded attention here is the method of the lost wax takes place in the middle Spring and Autumn in a very high standard. This happens to be in line with the features of China bronze in the second peak that is advocating tiny, detailed, elaborate and complex decorations. Many very fine and smooth hollow or shaped ornaments are exactly the results of the lost-wax cast.
In this second peak of the evolution, the China bronze statue manifests an unprecedented new look. These new look and new style covers from late Spring and Autumn to the Warring States and revives in Han Dynasty, lasting for nearly 400 years.
Almost in the same period, the art of China bronze culture in remote areas has outstanding progress, especially in the Bashu (two ancient cities in Sichuan) culture and Dian culture in Yunnan possess respectively unique artistic tradition and characteristics.
Since the second peak, China bronze, with the popularity of the purposes turn onto the day-to-day road. In fact, this trend had already budded in the late Warring States period and developed to the full performance in the mid-Western Han Dynasty. On the whole, the shapes of the chinese bronze sculpture became standardized. Mostly is lack of variation. The most common is the plain pattern and what the inscriptions have left is only a simple format. After the Eastern Han Dynasty, China bronze in a large range is substituted by other types of devices, such as porcelain or iron.
Of the artistic life of China bronze sculpture, the bronze type has lasted longest. In the first place, there is no knob in the center of the back of the mirrors and forming its own tradition. This can be tracked back to the prehistoric culture of Qi family. Through the Shang and Western Zhou, china bronze sculpture mirror reached its apogee during the second peak mentioned above so far so that the mirror of Han further become well-known Chinese cultural treasures. Henceforth, due to the introduction of new technologies (such as mother-of-pearl inlay, etc.), the mirrors of Tang and Sui display a new glory. The production and usage of the China bronze mirror has been extended to the modern times.
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