Ding (鼎) are prehistoric and ancient Chinese cauldrons, standing upon legs with a lid and two facing handles. They are one of the most important shapes used in Chinese ritual bronzes. They were made in two shapes: round vessels with three legs and rectangular ones with four, the latter often called fangding. They were used for cooking, storage, and ritual offerings to the gods or to ancestors. The earliest recovered examples are pre-Shang ceramic ding at the Erlitou site but they are better known from the Bronze Age, particularly after the Zhou deemphasized the ritual use of wine practiced by the Shang kings. Under the Zhou, the ding and the privilege to perform the associated rituals became symbols of authority. The number of permitted ding varied according to one's rank in the Chinese nobility: the Nine Ding of the Zhou kings were a symbol of their rule over all China but were lost by the first emperor, Shi Huangdi in the late 3rd century BCE. Subsequently, imperial authority was represented by the Heirloom Seal of the Realm, carved out of the sacred Heshibi; it was lost at some point during the Five Dynasties after the collapse of the Tang.
In Chinese history and culture, possession of one or more ancient ding is often associated with power and dominion over the land. Therefore, the ding is often used as an implicit symbolism for power. The term "inquiring of the ding" () is often used interchangeably with the quest for power.
In the early Bronze Age of China, the use of wine and food vessels served a religious purpose. While ding were the most important food vessels, wine vessels were the more prominent ritual bronzes of this time, likely due to the belief in Shamanism and spirit worship. Ding were used to make ritual sacrifices, both human and animal, to ancestors. They varied in size, but were generally quite large, indicating that whole animals were likely sacrificed. The sacrifices were meant to appease ancestors due to the Shang belief that spirits had the capability to affect the world of the living.
This page is automatically generated and may contain information that is not correct, complete, up-to-date, or relevant to your search query. The same applies to every other page on this website. Please make sure to verify the information with EPFL's official sources.
Sets and individual examples of ritual bronzes survive from when they were made mainly during the Chinese Bronze Age. Ritual bronzes create quite an impression both due to their sophistication of design and manufacturing process, but also because of their remarkable durability. From around 1650 BCE, these elaborately decorated vessels were deposited as grave goods in the tombs of royalty and the nobility, and were evidently produced in very large numbers, with documented excavations finding over 200 pieces in a single royal tomb.
Chinese bronze inscriptions, also commonly referred to as bronze script or bronzeware script, are writing in a variety of Chinese scripts on ritual bronzes such as zhōng bells and dǐng tripodal cauldrons from the Shang dynasty (2nd millennium BC) to the Zhou dynasty (11th–3rd century BC) and even later. Early bronze inscriptions were almost always cast (that is, the writing was done with a stylus in the wet clay of the piece-mold from which the bronze was then cast), while later inscriptions were often engraved after the bronze was cast.
Tianxia (), literally meaning "(all) under Heaven", is a Chinese term for a historical Chinese cultural concept that denoted either the entire geographical world or the metaphysical realm of mortals, and later became associated with political sovereignty. In ancient China and imperial China, tianxia denoted the lands, space, and area divinely appointed to the Chinese sovereign by universal and well-defined principles of order.
Over the last century, the constant quest to improve the mechanical properties of ceramics has ultimately led to the appearance and production of transparent ceramics. Indeed, microstructural refinement and reduction of the residual porosity after sinterin ...