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Grand Simuwu quadripod of the late Shang Dynasty, housed in National Museum of China

The arising of bronze ware in China goes back to an early age. A bronze sword made by single mould 5,000 years ago unearthed at the site of Majiayao in Gansu Province, is to date the earliest bronze object discovered. For several thousand years, Chinese craftsmen have mastered superb techniques in bronze ware manufacturing to form unique style as regards the technological process, mould-making and decorative patterns.

During the late years of Neolithic Age, some archaeological culture had entered a time when both bronze and stone were used, which created prerequisite conditions for the development of broze ware. The artistic factors of bronze ware can be traced in the stone artistic factors of bronze ware can be traced in the stone artifacts, pottery and jade articles made in the late years of Neolithic Age. For example, shapes of bronze implements and weapons originated mostly from stone ware, whereas the shaping of bronze vessels was inherited from pottery mould-making. Form bronze tripods, caldrons and goblets you can find their respective prototype. And such is the case with decorative patterns on bronze ware. Take the distinguished taotie (a rapacious animal in Chinese mythology) pattern, a common decorative pattern on ancient Chinese bronze ware, for an instance. Its source can be traced back to the jade articles in the Longshan Culture in the Neolithic Age. The Erlitou Culture that came between Longshan Culture and Shang Culture ad already entered the Bronze Age. The bronze ware found in Erlitou, in addition to tools, weapons and aricles for personal adornments, includes vessels made with double-mould and the noticeable turquoise-inlaid technique.
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Painted lacquer inner coffin made in early Warring States Period, unearthed from Zenghouyi tomb in Suizhou, Hubei, kept in Hubei Museum

Lacquer ware is a sort of artifacts using wood or other materials as body on which lacquer is coated. Chinese lacquer-painted woodenbowl discovered in the Hemudu remains in Yuyao, Zhejiang Province in 1978, which went back 7,000 years.

In the Neolithic Age, lacquer was still at an exploring stage. From the Xia, Shang and Western Zhou dynasties down to the Spring and Autumn Period, lacquer ware had experienced its initial prosperous period. During the warring states period and han dynasty, tree cultivation started to be taken seriously, conducive to lacquer production on a grand scale which lasted for centuries. The classic historical records writes that Chuang-tzu (c.369-286 B.C.), the great philosopher was once an official administration was established to take charge of lacquer production, which was managed under strict organization with elaborate division of labor. The inscriptions on Han Dynasty lacquer utensils excavated in Rakrang of Korea in 1932 tell in detail the date, location, division of work and names of officials involved in the manufacturing. According to the record, division of labor was clear and definite, in which lacquer body preparing, lacquer coating, painting, bronze buckle fixing, finishing, etc., each was done by specific craftsmen. In addition, there were workers specialized in making lacquer, providing materials, etc.

In the early Warring States Period, lacquer ware body was made of wood, which is thick and heavy. Later on, other materials (gray ash generated from the sumac reinforced with flax fibers), tough oxhide, etc. The state of Chu was the hub of lacquer production at that time where the articles made were red and black in color, mostly red patterns painted on black background with primitive simplicity. Animal patterns, geometric figures, and patterns reflecting social life such as chariot and horse, dancing, hunting, etc. were used for decoration. Already were products rich in variety, to be used not only as utensils, stationery, ornaments for furniture, but also for musical instruments, weapons and funerary objects, partly in place of bronze ware. They were therefore much favored by dukes and princes in spite of their high price.
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White pottery- dou (hollow container) from the Shang Dynasty, a treasure with exquisite patterns of thunder clouds, elegant in style and dignified in shape

Starting from the Xia, the Shang and the West Zhou, China began the replacement of dynasties one after another. Both the Xia and the Shang had official post specially set up to manage handicrafts under the direct control of royal families and nobles. The sacrificial vessels, sacrificial utensils, weapons and valuable articles for daily use needed by the rulers were all fabricated by the handicrafts under the control of officials. Most of the craftsman in the Shang Dynasty belonged to the respective clan engaged in a special kind of handicraft from generation to generation but a small part of them were slaves transformed from prisoners of war.

Bronze ware was an important handicraft variety in the Shang Dynasty. The brone ware of the Shang Dynasty had almost all categories with various shapes. For decorative designs, they were of central symmetry of single line patterns, mysterious and solemn. Due to the tendency of drinking prevailing among the ruling class of the Shang Dynasty, the making of drinking vessels was highly developed. As the cost was very high, the bronze ware could only be used by rulers. For the broad masses of slaves, earthenware was still taken as principal articles for their daily necessities. As a result, the pottery-making technique of the Shang Dynasty was also universally developed. There were three kinds of technique to make pottery: wheel, mold and their combination. There was also an internal division of labor for the pottery-making technique and different kilns fired different potteries. China is the first nation in the world to breed silkworms, weave silk fabrics and use lacquer. In the Shang Dynasty, wild silkworms had already been domesticated. The coating of lacquer can prevent wooden articles from rotting and be used for decoration as well. So far as decoration was concerned, the handicraft in the Shang Dynasty was full of strong religious color and its religious significance was more important than aesthetic consciousness.
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