Cultural Origins

　　I. Bronze Ware Chapter

　　China's bronze culture, having undergone the baptism of over 1600 years of long history, has left behind five million pieces of bronze and iron ware that contain profound historical heritage and deep culture, becoming a microcosm and reappearance of the special period from the Xia, Shang, and Zhou dynasties to the Qin and Han dynasties. Among these, the brilliant bronze culture of the Shang and Zhou dynasties holds a glorious page not only in China but also in world cultural history. authentically and accurately

　　Henan Province was the capital of the Shang Dynasty, serving as its political, economic, and cultural center, and also the most important region for the excavation of Shang Dynasty bronzeware. Historically, a large number of bronzeware pieces have been unearthed here. After the founding of the People's Republic of China, with the great development of archaeology and basic construction in industry and agriculture, the excavation of Shang Dynasty bronzeware in Henan Province has been unprecedented. The most important discoveries include: the discovery of early Shang bronzeware at Erlitou in Yanshi; the excavation of middle Shang bronzeware in Zhengzhou; and the massive excavation of late Shang bronzeware from the tomb of Lady Hao at Yinxu. The Shang Dynasty bronzeware unearthed in Henan is widely distributed, large in quantity, diverse in types, complete in eras, and most are scientifically excavated items with very high scientific value, incomparable to other places. These discoveries have presented a clearer developmental sequence of Shang Dynasty bronzeware before us, leading to significant progress in bronzeware research. authentically and accurately

　　In the process of discovering these dust-covered pearls, we explored the origin, development, and peak period of bronzeware, as well as its appearance to ancient people and its status in people's minds during ancient times. authentically and accurately

　　Bronze ware was popular from the late Neolithic Age to the Qin and Han dynasties. Bronze artifacts from the Shang and Zhou dynasties were not only containers for holding objects but also ritual vessels in ancestral temples. The quantity of bronzeware could indicate social status, and the size of bronzeware could display the level of power. Among bronzeware, the most important type of vessel is the 'ding' (tripod cauldron). Ancient bronzeware can be divided into four major categories: food vessels, wine vessels, water vessels, and musical instruments. Food vessels include 'ding', 'li' (tripod cauldron), and so on. authentically and accurately

　　In the development of bronzeware, the artifacts from the Shang and Zhou dynasties are the most exquisite, rich in variety, diverse in form, and feature inscriptions and delicate, sturdy, and dignified patterns. The artistic decoration of Shang and Zhou bronzeware inherited some essences from Neolithic art and, through long and continuous changes, formed a unique system, becoming an integral part of Chinese art history. During the Shang and Zhou periods, bronze metallurgy reached its peak as a symbol of productivity. This was the flourishing period for the development of ancient Chinese bronzeware. Therefore, it is well-deserved to call the Shang and Zhou periods the Bronze Age in Chinese history. It is known for its rich categories, beautiful shapes, magnificent patterns, exquisite craftsmanship, and unique style. At this time, metallurgical casting technology can be said to have developed by leaps and bounds, with wide applicability in use. authentically and accurately

　　Therefore, Henan Province, as the capital of the Shang Dynasty, had the advantage of proximity. For the bronzeware smelting technology and precision casting processes, as foundry workers, the Henan Huaxia Bronze Art Molding Research Institute must undertake the social and national responsibility of inheriting traditional bronze art techniques, moving towards the future with traditional yet exquisite casting processes! authentically and accurately

　　II. Xuande Censer Chapter

　　When dawn breaks, one rises in the morning, brews a good pot of tea, and enjoys the fragrance of half a stick of agarwood – the comfort and ease found in this are universal, ancient and modern alike. This is also the ninth of Su Shi's "Sixteen Pleasures for the Mind" (《赏心十六事》) – "Morning rise with half a stick of tea fragrance." The matter of incense, from ancient times to the present, has been favored by poets and literati. However, the use of incense cannot be supported without a vessel. A good incense naturally requires an exquisite censer to match. And this significant Xuande censer, inscribed with these six characters as its mark, is precisely the favorite of the renowned cultural scholar and collector Liu Xirong, and is included in his compiled work "Bronze Tripods and Tea Fragrance (I)" (《钟鼎茗香》(一)). authentically and accurately

　　"The ancients, when making tools, valued utility and spared no expense, hence their craftsmanship was extremely refined." This was the evaluation of ancient scholar's study items by Wen Zhenheng, a literati of the late Ming Dynasty, in his book "Treatise on Superfluous Things" (《长物志》). In ancient times, scholar's studies contained many precious objects, from bells, tripods, knives, and swords, down to brushes, ink, paper, and inkstones, "all were made with excellence for pleasure," leaving no room for ambiguity. There was also an ancient saying: "Among a hundred scholar's objects, the censer is primary." This refers to the censer used for burning incense on the desk, and among censers, the Xuande censer ranks first, as in "Among all scholar's objects, the Xuande censer is supreme." This shows the important position of the Xuande censer among scholar's study items. authentically and accurately

　　The Xuande Censer, abbreviated as "Xuande Lu," was the first bronze ware cast using brass in Chinese history. In early Xuande third year (1428), Emperor Xuanzong of Ming received tens of thousands of catties of exquisite "Fengmo copper" as tribute from the King of Siam. He ordered officials from the Ministry of Works and the Ministry of Rites, including the imperial craftsmen Lu Zhen and Assistant Minister Wu Bangzuo, to use the tribute copper to cast tripods and ritual vessels. It is said that to ensure the quality of the censers, various precious metals such as gold and silver were added during refining. Together with the copper, they underwent more than ten refinements, producing hundreds of censers of exquisite color, historically known as Xuande Censers. authentically and accurately

　　However, today's "Xuande censer" does not refer solely to the censers cast in the third year of Ming Xuande, but also to all bronze censers bearing the Xuande mark, and can broadly refer to unmarked bronze censers or those with other marks that are similar in form to Xuande censers. Precisely because the bronze censers made during the Xuande reign were unparalleled, "having no precedent to learn from, and no successors to follow," they pioneered the casting of bronze censers after the Shang and Zhou bronzeware. Therefore, "Xuande censer" has become a general term for bronze censers. authentically and accurately

　　"Therefore, among all artifacts named after an emperor's reign title, only the Xuande bronze censer stands alone. It has been imitated by all subsequent dynasties, yet its name remains unchanged. This is truly unique in the world of cultural relic collection," Liu Xirong explained the characteristics of the Xuande censer. Although Xuande censers are just a part of Liu Xirong's extensive collection, he has conducted considerable research on them and has authored several specialized works on Xuande censers, including "Bronze Tripods and Tea Fragrance" (Volumes I, II, III, IV) (《钟鼎茗香》(一，二，三，四)). Furthermore, he has two volumes of "Rongzhai Essays" (《荣斋随笔》), which study the Xuande censer and its related uses in the scholar's study, display, and suitable incense types. authentically and accurately

　　Speaking of Xuande censers, Liu Xirong also told us about a "public case" in the antique collection world. Because there is no clear record of "Xuande three years casting censers" in the "History of Ming" (《明史》), some scholars questioned the existence of Xuande censers, believing that the widely circulated Xuande censer diagrams in later generations were also fakes. However, Liu Xirong believes: "The existence of Xuande censers is beyond doubt, and the scholarship and classics surrounding Xuande censers, their records in national archives, as well as their inheritance, imitation, and use by successive emperors, are all beyond doubt." authentically and accurately

　　Liu Xirong compares the historical records and illustrations of Xuande furnaces to those of bronze ware, arguing, "There were no historical records of bronze ware casting, and its 'five types of illustrations' were also drawn by Song people, separated by a millennium. Yet, the existence of bronze ware cannot be denied. The casting of Xuande furnaces and the transmission of illustrations from the Ming and Qing dynasties are almost contemporaneous, belonging to the same dynasty. Why should they not be credible?" In Liu Xirong's view, Xuande furnaces have "three types of illustrations, passed down through generations with strict regulations," with Qing Palace imitations being particularly well-documented and most reliable during the Kangxi, Yongzheng, and Qianlong reigns. During the reigns of Kangxi, Yongzheng, and Qianlong, not only were there many documents recording Xuande furnaces, but the "Xuan copper" cast at that time was also exquisitely made, with a delicate texture and lustrous color. The Siku Quanshu, compiled during the Qianlong period, includes a version of the "Eight-Volume Xuande Furnace Spectrum," containing an imperial edict from Emperor Qianlong and an article by Ji Xiaolan.

　　In addition to officially made Xuande furnaces, both the Ming and Qing dynasties saw imitations. In the early and middle Ming dynasty, people like Wu Bangzao were supervisors of Xuande furnace production and among the first to imitate them. Early Ming imitations were mostly made in Beijing, such as those by the Shi family of Yanjing, representing early northern casting, primarily for the imperial court and using high-quality copper. After the Wanli reign of the Ming dynasty, southern casting rose, with Songjiang Prefecture being the most prominent. Songjiang Prefecture's products were opulent, often gilded and heavily ornamented, with many imitating bronze ware, retaining the style of imperial commissions. From the late Ming dynasty into the Qing dynasty, Suzhou Prefecture's production rose, with a change in style, featuring more elegant shapes and often incorporating poetry and literature.

　　The fact that Xuande furnaces have been popular for six hundred years, ranking as the "premier item of the scholar's studio," passed down through generations, and have made many famous people even more famous, is a rare cultural phenomenon that has naturally attracted significant attention.

　　Liu Xirong has two standards for collecting Xuande furnaces: "old" and "good." Before the Daoguang reign of the Qing dynasty, Xuande furnaces can be considered old, and many are also good. After Daoguang, national strength declined, and the country's politics, economy, culture, and overall productivity decreased, making it impossible to cast exquisite copper furnaces. The saying "no fine wares after the Daoguang reign" reflects this. Therefore, the latest Xuande furnaces in Liu Xirong's collection are from the Daoguang reign—only two pieces.

　　“Actually, the truly good furnaces are all from before Qianlong; there weren't any good ones during the Jiaqing reign either.” According to Liu Xirong, during the reigns of Kangxi, Yongzheng, and Qianlong, the country was prosperous, society was stable, and the three emperors themselves loved antiques, leading to numerous castings and marking another peak in the history of Xuande furnace production.

　　Outside the western wall of the Yuanmingyuan, there was a foundry that specialized in making copper Buddhist statues and incense burners for the imperial court during the reigns of Kangxi, Yongzheng, and Qianlong. Qing palace archives record that Emperor Kangxi personally supervised the production of a "Longevity" bowl-shaped furnace, engraving his study's name, "Leguan Zhai Master," on the bottom. Exquisitely crafted, it is considered a world-famous furnace and is included in the book *Zhongding Mingxiang* (4).

　　The Qing dynasty's *Qing Palace Internal Affairs Office Archives* also records: "On the seventh day of the first month of the fourth year of Yongzheng's reign, Yuanwailang Haiwang presented a Xuan copper furnace." After Yongzheng examined it, he ordered the southern craftsman Yuan Jingshao to "inspect it." On the eighth day of the eighth month, "Yuanwailang Haiwang presented a copper double-dragon-ear jar," and Yongzheng ordered people to "make two pieces of Xuan copper according to this jar's style." Yongzheng's fondness for Xuan copper is evident.

　　The large number of "good furnaces" cast during the reigns of Kangxi, Yongzheng, and Qianlong are reflected in five aspects: shape, color, inscription, material, and condition. These are also important standards for appreciating Xuande furnaces. "Shape" refers to the classic form and perfect proportions of the copper furnace. Xuande furnaces were either modeled after Song dynasty porcelain or ancient bronze ware, with their shapes following established patterns from three ancient books: *Xuande Dingyi Pu*, *Xuande Yiqi Tu Pu*, and *Xuande Yiqi Pu*. These shapes cannot be arbitrarily altered. These three books, written around the Ming-Qing transition, are classic works on Xuande furnaces. Liu Xirong's description of Xuande furnace imitation as having "strict regulations" refers to these three illustrations.

　　Color refers to the patina of the copper furnace. The perfect patina of Xuande furnaces is a major reason for their appeal to emperors, officials, and literati. Mao Xiang, in his *Xuande Furnace Notes*, states that Xuande furnaces excel in color, with their dull patina emitting a unique inner glow, like a woman's skin. Xuande furnaces come in various patinas, such as cinnabar, jujube red, liver color, and eggplant color, all captivating.

　　However, among Liu Xirong's many collections, a green Xuande furnace is his favorite. This furnace, named "Kui Dragon Ear Bagua Furnace," is octagonal and similar to the "Cloud Dragon Kui Ear Tripod Furnace" in the *Xuande Yiqi Tu Pu*, particularly in its "feet" and "mouth." It has a swirling circular base, with an additional string of silk between the body and feet, a unique feature. Cast using the lost-wax method, the creation of this string is particularly difficult and not achievable by ordinary craftsmen. The furnace's value is further enhanced by its color. According to Liu Xirong, he has seen many red or yellow Xuande furnaces, but this furnace's dark green patina is exceptionally thick and lustrous, and he has only seen "one other example." This Xuande furnace's antique green color is the same as that of ancient bronze ware, making it exceptionally precious.

　　Regarding the origin of this furnace, Liu Xirong also has a story. Five or six years ago, a photo appeared at an auction in a small British town. The photo showed a British soldier, with a sword in one hand and a rifle on his shoulder, with a row of copper vessels at his feet, including this Xuande furnace. Behind him was the Yuanmingyuan, engulfed in smoke and fire. Mr. Liu's friend, Mr. Yang Tan, purchased the furnace in England, and after several transfers, it eventually came into Liu Xirong's possession. "Cultural relics bear witness to the rise and fall of a nation, evoking profound emotion."

　　As for the inscriptions on Xuande furnaces, many are commemorative imperial inscriptions, while others are literary inscriptions, private family name inscriptions, auspicious phrases, and other types of inscriptions. Both the calligraphy and craftsmanship must be perfect. Among the many inscriptions, the most classic "standard inscription" is the six-character inscription "Great Ming Xuande Reign."

　　Appreciating Xuande furnaces also involves examining the copper quality. "Materials are the foundation of an object. The choice of materials for Xuande furnaces also reflects the evolution of production technology." Xuande furnaces are mostly made of brass. "Generally, those made of bright yellow brass, golden yellow brass, or red copper are mostly fine copper furnaces from the early Ming to early Qing dynasties."

　　When collecting, try not to collect damaged pieces. Instead of collecting three damaged items, it's better to own one perfect one. Always choose something without regrets." A censer must be perfect and flawless; this refers to its appearance and overall style. The term "shen yun" (charm/spiritual resonance) is commonly used in China's traditional antique collection industry, and it is also an important concept in traditional Chinese aesthetics. Liu Xirong, in his article "Eight Admonitions for Appreciating Censers" within "Bells, Tripods, and Fragrance (II)," also lists "appreciating shen yun" as the primary consideration for censer appreciation. However, regarding this somewhat "mysterious" concept, Liu Xirong said he "doesn't quite agree." "'Shen yun' is a traditional concept in Chinese aesthetics, not detailed information. It's like saying 'good temperament,' but what exactly is temperament? If you don't understand the productivity levels and casting techniques of various dynasties, you won't be able to understand the quality of a bronze censer, and naturally, you won't be able to discern its 'temperament.'" It seems that the so-called discerning eye and feeling come precisely from extensive knowledge and rich experience.

　　Life is the way of collection. When introducing Xuande censers to us, Liu Xirong also lit an incense stick. The agarwood was placed in a maroon censer with upward-pointing handles. This Xuande censer has three feet, much like Song dynasty porcelain, and its surface is smooth and lustrous. Blue smoke emerged from the censer lid, wafting upwards, with a subtle fragrance lingering, and the exquisite charm within was ineffable.

　　This censer was originally a tool for Buddhist rituals in the palace. It was lost when the Eight-Nation Alliance invaded Beijing, purchased by the wife of an East India Company executive, and taken back to England. Later, the family declined, and their descendants sold the family castle along with its artifacts to a Wenzhou businessman. Liu Xirong once saw a photo of the ancient castle and immediately spotted the "touch of red" in the picture – it was precisely this Xuande censer in front of him. "I acquired it on the twenty-ninth day of the twelfth lunar month two years ago, just before Chinese New Year. On the thirtieth day of the twelfth lunar month, after bathing, changing clothes, and performing the ritual for adding it to my collection, I enshrined it." When saying these words, Liu Xirong's face was still full of excitement.

　　In Liu Xirong's view, collecting is for a better life. Burning incense in a Xuande censer, drinking tea with exquisite tea sets, having books scattered on the couch, a zither and flute nearby, and fragrant tea always accompanying him – all this is to make his life more comfortable. If antiques are immediately put away after acquisition, it becomes dull. "I don't have those common rituals like tea ceremony or incense ceremony. I only have the ancient Chinese tradition, which is to enjoy tea and fragrance while chatting about everything, discussing all manner of topics. Isn't that more authentic and comfortable?" Liu Xirong often says that tradition and antiques have long been integrated into life. "Since ancient times, China has had no formal 'tea ceremony' or 'incense ceremony.' What the Japanese learned from Chinese folk culture during the Song dynasty regarding tea and incense was not the high-end culture of traditional Chinese royalty or literati. After flowing back to China, it has long been commercialized, which is truly a sorrow for our nation."

　　Most of the Xuande censers collected by Liu Xirong were purchased overseas, coming from the UK, the US, and Japan. In the late Qing Dynasty, as the nation declined, antiques and artifacts flowed overseas. Today, with China's increasing prosperity and strength, outward investment has grown, and more Chinese people are acquiring antiques, leading to a gradual return of traditional Chinese artifacts. "The movement of antiques follows wealth. We must be grateful for the current peaceful era; otherwise, how could we play with such beautiful Xuande censers while chatting?"

　　The craze for the return of Xuande censers is also related to cultural identity. In earlier years, Japan admired Chinese artifacts. From the Republic of China era to the period of Japan's invasion of China, a large number of antiques and Xuande censers flowed into Japan. In recent years, the younger generation in Japan has shown a decreasing identification with traditional Chinese culture and has gradually sold off the antiques in their possession. Now, Chinese people are increasingly recalling ancient traditions, and thus are purchasing these items back to their home country.

　　"Cultural relics, cultural relics: 'culture' comes first, 'relic' comes second. An artifact without cultural heritage is merely an ordinary industrial product," Liu Xirong said.

　　Note: Excerpted from "Shai Bao Hui"