Ya Chou lei: A Unique Shang Wine Vessel at Mia from the Former Qing Imperial Collection
Among the outstanding ancient Chinese ritual bronzes collected at the Minneapolis Institute of Art (Mia)—the majority of them were bequests of Alfred F. Pillsbury—one vessel known as Ya Chou lei particularly stands out (Fig. 1). Not only was it formerly in the Qing imperial collection and recorded in Xiqing gujian (12.6), a catalogue documenting the Qianlong Emperor’s collection, but its origin and patron, intricate design, and casting technique are also fascinating. The vessel relates to a little-known vassal state that once served the Shang King as a military outpost in the East. Its unique form has puzzled art historians in regard to its dating, and our discourse here contributes to a better understanding of the vessel.
Used for holding wine, the vessel type known as lei represents a typical pottery shape that was translated into bronze. Its prototype is the pottery jar weng 甕, which appeared in the Early Shang period (c. 16th century BCE). In general, it is a tall jar with a broad shoulder, short neck, and small mouth, and it was popular from the early period of the Middle Shang through the Spring and Autumn period (c. 14th–5th century BCE). The character lei 罍 began to appear in inscriptions on bronze vessels of the early Western Zhou dynasty (late 11th centuries BCE), designating them as lei. It appears in inscriptions on both circular and square lei vessels; for instance, the Yan Yu Shi lei 淊御事罍, Middle Western Zhou (9th century BCE), now in the collection of the Palace Museum, Beijing; and the Ling fanglei 陵方罍 excavated in 1976 from the bronze hoard H1 at Zhuangbai in Fufeng, Shaanxi, datable to the Early Western Zhou (11th–early 10th century BCE). The present usage was coined by Northern Song antiquarians; for instance, it was mentioned by Wang Fu (1079–1126) in Xuanhe bogu tu (Illustrated Catalogue of Antique Treasures from the Xuanhe Reign) (7.22–31), but in all cases the name lei was only applied to a limited range of vessels.
Fig. 1 Ya Chou lei
China; Late Shang Dynasty (c. 1300–1046 BCE), c. mid-12th century BCE
Bronze; 36.4 x 28.4 x 23.2 cm
Minneapolis Institute of Art, Bequest of Alfred F. Pillsbury (50.46.3a,b)
Fig. 2 Ya Chou lei
China; Late Shang Dynasty (c. 1300–1046 BCE), c. mid-12th century BCE
Bronze; 36.4 x 28.4 x 23.2 cm
Minneapolis Institute of Art, Bequest of Alfred F. Pillsbury (50.46.3a,b)
Fig. 3 Ya Chou lei
China; Late Shang Dynasty (c. 1300–1046 BCE), c. mid-12th century BCE
Bronze; 36.4 x 28.4 x 23.2 cm
Minneapolis Institute of Art, Bequest of Alfred F. Pillsbury (50.46.3a,b)
In form, this example of a lei from Mia collection is tall and vase-like, with a domed lid. Measuring 36.4 x 28.4 x 23.2 cm and weighing 5.3 kg, it has a flat, slanted rim, a slightly curved neck, and an angled shoulder that comprises the widest cross-section of the vessel, from which it tapers down to a base that is rounded inward. The ears on the shoulder are each decorated with a stylized animal head and hold a ring. At the back there is a handle near the bottom with an almost identical animal shape to the ring holders but without the ring (Figs 2–3). In his 1952 study of Alfred Pillsbury’s bronzes, Bernhard Karlgren, the Swedish sinologist, assigned the vessel to the Yin period (i.e., Late Shang, c. 1300–1046 BCE) (Bernhard Karlgren, 1952, Pl. 58). In order to determine a more specific date for this vessel, it has been necessary to establish a periodization of the forms of lei. Two types of lei are distinguishable during the late Shang dynasty: square lei (fanglei) and circular lei (yuanlei). Fanglei only emerged during the period of late Yin II (late 13th century BCE), as exemplified by Fu Hao fanglei of this type unearthed from M5 at Xiaotun, Anyang (Fig. 4) (Institute of Archaeology, CASS, 1985, Pl. 31). Yuanlei, however, was an older form, and it appeared as early as in the Middle Shang (c. 14th centuryBCE). One of the earliest known examples of a lei with a circular cross-section was excavated from Tomb M2 at Baijiazhuang in Zhengzhou, Henan, datable to Phase I of the Middle Shang (early 14th century BCE) (Fig. 5) (Editorial Committee of the Anthology of Chinese Bronzes, 1993–98, vol. 1, Pl. 128). It is supported by a high, splayed foot cast with three large, open crosses, encircled by three bowstrings. The body is cast with three animal faces that sport raised eyes. The angled shoulder is decorated with a narrow band of abstract dragons. Lei vessels of this type from the Middle Shang, but with a larger mouth, have been unearthed around Zhengzhou, the metropolitan area of the Middle Shang, as well as at Chenggu in Shaanxi and Panlongcheng in Hubei. This type of lei was continuously made during the early Yin period, primarily Yin I (first half of 13th century BCE), when the Shang capital was relocated to Yin at present-day Anyang, Henan. A good example is a lei excavated from YM388 at Xiaotun, Anyang (Fig. 6) (Li Ji, 2006–8, vol. 4, p. 391, Fig. 31).
Fig. 4 Fu Hao fanglei
China, Late Shang Dynasty (c. 1300–1046 BCE), late 13th century BCE
Bronze; 51.4 x 13.6 x 15.6 cm diameter at mouth
Excavated from M5 at Xiaotun, Anyang, Henan province; Institute of Archaeology CASS (M5:866)
Fig. 5 Lei
China, Middle Shang Dynasty, Phase 1 (early 14th century BCE)
Bronze; 25 x 13 cm diameter
Excavated from Tomb M2 at Baijiazhuang, Zhengzhou, Henan province; Henan Provincial Museum (M2:1)
Fig. 6 Lei
China; Late Shang Dynasty (c. 1300–1046 BCE), first half of 13th century BCE
Bronze; 24.4 x 16.6 cm diameter at mouth
Institute of History and Philology, Academia Sinica (YM388: R2061)
Beginning in late Yin II, a new form of circular lei emerged, as evidenced by an example excavated in 1977 from Tomb M18 at Xiaotun in Anyang (Fig. 7) (Editorial Committee of the Anthology of Chinese Bronzes, 1993–98, vol. 3, Pl. 79). In addition to having a shorter neck and narrower mouth, a rounded shoulder replaces the sharper edge of the Yin I lei, and the walls taper to a flat base with no foot. A pair of small, C-shaped ears have been added to the shoulder, and a handle in the shape of an animal head projects from the lower body, which may have served as a fulcrum for pouring wine during a ceremony. Heavily decorated lei of the same shape also appear in this period. Only two examples are known to us: the lei (Fig. 8) excavated from Tomb M238 (Li Ji, 2006–8, vol. 4, p. 368, Fig. 10), and the lei (M33:1) unearthed in 2009–10 from Tomb M33 at Liujiazhuang Locus Northeast (Anyang Municipal Institute of Cultural Relics and Archaeology, 2017, pp. 17, 21, Fig. 45:1, and Pl. 14). Most lei from this period are undecorated.
Fig. 7 Lei
China, Late Shang Dynasty (c. 1300–1046 BCE), late 13th century BCE
Bronze; 33 x 11.6 cm diameter
Excavated from Tomb M18 at Xiaotun in Anyang, Henan province; Institute of Archaeology, CASS (M18:37)
Fig. 8 Lei
China, Late Shang Dynasty (c. 1300–1046 BCE), late 13th century BCE
Bronze 36.5 x 14.7 cm diameter
Excavated from YM238 at Xiaotun, Anyang, Henan province; Institute of History and Philology, Academia Sinica (YM238: R2067)
The lei shape as represented by those from M18 and YM238 continued into Yin III (second half of 12th century BCE) with changes, including the addition of a short, everted foot at the base of the vessel and a convex bottom on the interior of the jar. The overall body tended to be comparatively taller and larger. As seen in a lei (M160:140) excavated from Tomb M160 at Guojiazhuang in Anyang (Editorial Committee of the Anthology of Chinese Bronzes, 1993–98, vol. 3, Pls. 81–82), the ears were reshaped to project at an upward angle from the sloping shoulder; a movable ring hung from each ear (Fig. 9). Cast inscriptions began to appear as well; for instance, the lei from Guojiazhuang bears the inscription 亞址 (Ya Zhi). This form of lei was continuously cast during Yin IV (first half of 11th century BCE), but over time the foot became much taller and heavily everted, as exemplified by the lei inscribed 馬危 (Ma Wei), at 42.5 cm high, excavated in 2004 from Tomb M303 at Dasikong, Anyang (Fig. 10) (Institute of Archaeology, CASS, 2014, p. 419 and Pl. 105:2).
Lei cast during the period of Yin II (2nd half of 13th–early 12th century BCE) are characterized by a slightly concave base with no foot ring and a pair of small ears holding no rings. During Yin III, an everted foot was added to the bottom and a movable ring placed on each ear. The current example, however, does not fit neatly into either of these types. While this vessel has a slightly concave base without an everted foot ring, typical of lei from Yin II, the pair of rings suspended from the ears would situate it within the period of Yin III.
Fig. 9 Lei
China, Late Shang Dynasty (c. 1300–1046 bce), late 12th century BCE
Bronze; 44.8 x 17.5 cm diameter
Excavated from Tomb M160 at Guojiazhuang, Anyang, Henan province; Institute of Archaeology, CASS (M160:140)
Fig. 10 Ma Wei lei
China, Late Shang Dynasty (c. 1300–1046 bce), late 12th century BCE
Bronze; 42.5 cm high
Excavated from Tomb M303 at Dasikong, Anyang, Henan province; Institute of Archaeology, CASS (M303:59)
To determine a more precise date for this vessel, it is necessary to examine the decorative patterns. The decor on the exterior body of the lei is divided into three registers and contains a ground of spirals. The spirals are squared except for two rows of rounded spirals, the first running above the frieze on the sloping shoulder and the second above the band of large hanging blades. The first register, along the shoulder and below two raised bowstrings on the neck, has six stylized dragons in profile with protruding eyes and a coiled nose or horn resembling an elephant’s trunk, with their mouths opening downward (Fig. 11). There are three pairs of confronting dragons, with one pair centered over the handle at the back. The eyes of the dragons are positioned to correspond with the midlines of the blades below.
The second register, below the shoulder, is bordered by depressions. Within the band are alternating birds and raised circles filled with whorls, or fire patterns, with ten fire patterns and eight birds (Fig. 12). Two pairs of birds are on each side; on the front side all the birds face toward the fire motif at the center, and on the reverse side (with the handle) they face away from the fire motif at the center and toward the ears. Each of the birds is depicted with a hooked crest, a heart-shaped horn, an upward-pointed wing, and an L-shaped, cleft tail.
Fig. 11 Ink rubbings showing details of the Ya Chou lei in Figs 1–3
Fig. 12 Ink rubbings showing details of the Ya Chou lei in Figs 1–3
On the lower body of this lei is a band of six large hanging blades, with straight and T-shaped scores along the borders, mirroring the design of the flanges (Fig. 13). Each contains two mirror images in flat relief. The blade shape came to be used extensively in bronze decoration during Yin II, as seen in many vessels from the Fu Hao tomb. The motifs on these blades are mostly mirror images of dragons and cicadas. It was not until Yin III that more abstract or stylized dragons and cicadas began to appear. In this example, the designs are abstract examples of beaked dragons with their bodies coalescing at the point of the blade.
The pair of ears attached to the shoulder are in the form of animal heads holding rings. Each ring is ornamented with four eye-like motifs flanked by a pair of triangles (xiejiao mu yunwen 斜角目雲紋). Each animal head has enormous coiled horns. On the vessel body, behind each of the looped ears, is a motif consisting of a squared eye with four petals attached; each petal has two tips (see fig. 20). Called sibanwen 四瓣紋 (pattern with four petals), this motif began to appear in the late period of Yin II; for instance, it is seen on the main body of a zhi (M5:783) wine vessel excavated from the Fu Hao tomb (Institute of Archaeology, CASS, 1985, Pl. 37).
The decor of the domed lid is divided into two registers (Fig. 14). The band around the edge of the lid is similar to the second register, below the shoulder on the vessel body. It combines six fire patterns and six birds, all facing right. The upper register, surrounding the knob, is divided into four sections by inverted V-shaped structures, almost a squashed version of the large hanging blades on the lower body of this lei. The semicircular knob is divided into six sections, each decorated with a vertical line over three wavy lines in intaglio.
Fig. 13 Ink rubbings showing
details of the Ya Chou lei in Figs 1–3
Fig. 14 Ink rubbings showing details of the Ya Chou lei in Figs 1–3
As mentioned earlier, most lei from Yin II are undecorated. However, at times during Yin III when heavy surface ornamentation became the norm, undecorated lei died out. The rich designs applied to the exterior surfaces of lei vessels include fire patterns and animal faces on the shoulders, friezes with dragons and birds encircling the upper bodies, and downward-pointing blades filled with stylised birds and dragons around the lower bodies. In the past, most lei found in Anyang were blank or had only a narrow band of decoration around the shoulder, leading scholars to conclude that most Anyang-period lei were essentially undecorated (Bagley, 1987, p. 425). Recent archaeological excavations have yielded more lei with heavy surface ornamentation from Yin III and IV. Notably, the decoration is all in low relief, carrying on an earlier style long after the shift to decoration executed in high relief became the norm on other vessel types. In addition to indicating an era of Yin III for the current lei, this knowledge can be applied to help date a number of decorated lei of the same type in various other museum collections.
The design of the small bird in profile below the shoulder further indicates a date of Yin III. Friezes of small birds became prevalent during the Late Shang period, beginning in Yin II. The birds of this early form have a large wing with a triangular, upward-stretching tip and an arced tail consisting of two or more parallel rows of feathers, as exemplified by the birds decorating the bronze Ou fangyi 偶方彝 from the Fu Hao tomb (Fig. 15) (Institute of Archaeology, CASS, 1985, Pls. 113–14, and Fig. 11). It was not until early Yin III that a new type of bird emerged. The wing still points upward, but the tail has taken an L shape, with a right angle replacing the arced form, and the end is now cleft. One example is seen in the upper register on the Yuan fangding 爰方鼎 (Fig. 16), datable to the early period of Yin III (Editorial Committee of the Anthology of Chinese Bronzes, 1993–98, vol. 2, Pl. 50). In some examples from the same period, the forked crown, as shown on the Yuan fangding, is replaced by a hooked form, as, for instance, in the decoration of the Fu Wu Ning Zhi fangding 父戊宁止方鼎 excavated in 1982 from Tomb M41 at Miaopu Locus North, Anyang (Fig. 17) (Yue Hongbin et al., 2008, pp. 290–91, Pl. 149). The birds decorating the Ya Chou lei bear an undeniable similarity to those appearing on these two vessels, from the third phase at the Yin site.
Fig. 15 Detail of line drawing of Ou fangyi
China, Late Shang Dynasty (c. 1300–1046 BCE), late 13th century BCE
Bronze; 60 cm high
Excavated from M5 at Xiaotun, Anyang, Henan province; Institute of Archaeology, CASS (M5:791)
Fig. 16 Detail of Yuan fangding
China, Late Shang Dynasty (c. 1300–1046 BCE), mid 12th century BCE
Bronze; 22.5 cm high
Excavated from M269 at Qijiazhuang East, Anyang, Henan province; Institute of Archaeology, CASS (M269:41)
A two-character inscription (with a square-shaped 亞 framing the character 醜) (Fig. 18), cast both on the underside of the lid and on the interior of the neck, is generally interpreted in modern script as ‘ya chou’, though opinions differ regarding the interpretation of the character 醜. Archaeological excavations carried out in 1965–66 and 1986 at a large cemetery in Subutun, Shandong, have unveiled the existence of a clan known as Ya Chou and revealed the location of a possible polity ruled by the clan during the Shang dynasty (Shandong Provincial Museum, 1972, pp. 17–30; Shandong Provincial Institute of Archaeological Institute and Qingzhou Municipal Museum, 1989, pp. 254–73; Yin Zhiyi, 1977, pp. 23–34).
This knowledge, in turn, allows us to better understand a group of bronzes inscribed Ya Chou in various collections. The material culture observed in burials at Subutun is remarkably similar to the Shang culture centered at the capital, Anyang. Not only are there similarities in vessel types and styles of ornament, but a close affinity is also reflected in the burial assemblages. Both emphasized wine and food containers, and the assemblages often included gu, jue, and ding vessels, the most common grouping in Late Shang burials (Yin Zhiyi, 1977, p. 29). In structure, the most important tomb had four ramps leading to the chamber, forming a 亞 shape, which was the design reserved for Shang kings. In fact, Tomb M1 at the Subutun site is the only known tomb aside from those of the Shang kings in Anyang constructed with four ramps. The inclusion of human sacrifices and the use of a sacrificial pit (containing a slaughtered dog) called a yaokeng 腰坑(waist pit) beneath the coffin are all typical of Shang tradition. On the basis of this high degree of similarity, it is certain that the Ya Chou clan had a close affinity to the Shang ruling class.
Fig. 17 Detail of a rubbing made of Fu Wu Ning Zhi fangding
China, Late Shang Dynasty (c. 1300–1046 BCE), late 12th century BCE
Bronze; 21.1 cm high
Excavated from Tomb M41 at Miaopu Locus North, Anyang, Henan province; Institute of Archaeology, CASS (M41:11)
Fig. 18 A two-character inscription cast on the underside of the lid of the Ya Chou lei in Figs 1–3.
Furthermore, Shang oracle bone inscriptions contain a record mentioning the name Xiaochen Chou 小臣醜, who was most likely a court official of the Ya Chou clan. ‘Ya’ was possibly the hereditary military official title (Yan Zhibin, 2013, pp. 175, 184–85). This suggests that the occupant of Tomb M1 at Subutun may be the Xiaochen Chou who was assigned to a Shang outpost in the east. During the Late Shang, the king’s military activities mostly targeted the polities in the east. The Ya Chou clan may have guarded the east and served as a key force that the king relied on in dealing with hostile forces in that region (Li Xueqin, 1997, pp. 331–36). Although differences of opinion remain, there is a general consensus among scholars that the tombs and the interred bronzes at Subutun are datable from Yin III to Yin IV (Guo Yanli, 2009, pp. 247–72).
Returning to the inscription on this lei, Yan Zhibin’s study has shown that the pictorial form of the character 亞 underwent changes from Yin II to Yin IV. The form that appears here, consisting of a cross with right angles at the corners and with horizontal and vertical strokes at the ends that stretch beyond the corners, was first seen during Yin III (Yan Zhibin, 2013, pp. 124–25). This inscriptional evidence further confirms that while this lei combines characteristics from Yin II and Yin III, a close analysis of its shape, decor, and inscription indicates it should be dated to early Yin III, around the mid-12th century BCE.
Along with questions regarding its patron, intricate design, and dating, the vessel also displays some interesting features in its cast worth discussing. Based on fragments of molds excavated from the Xiaomintun foundry site in Anyang, Chinese archaeologists have observed three division methods for casting a lei. For the first one, the entire vessel is divided horizontally into five sections: along the neck, the shoulder, the middle of the belly (at the tip of the blades), and along the foot ring. Vertically there are six panels; since the body is tapered, each is an inverted trapezoid with the divisions along the center of the blades. The use of this method involves 31 molds, including a bottom mold plus a core. The second method has four horizontal sections, with divisions along the neck, shoulder, and foot ring. Again, the body has six vertical divisions. This method involves 25 mold sections. The third method has four horizontal sections, divided along the neck, shoulder, and belly (at the tips of the blades). The lower belly is continuous with the ring foot; aside from this, it has the same six vertical panels and one bottom section, involving 25 mold pieces. In terms of the ears and handles, Chinese archaeologists observed they are cast along with the body with no core, as the molds extend into the area behind the ear/handle with the division in the middle. The extension then serves as the core. The animal head on the ears/handle are cast either by design carved on the body mold, or by using an insertion for the horns and protruding nostrils/mouth within the mold. The rings are precast and then inserted into the mold for casting the ears and body and are joined through the body via the second cast (Yue Hongbin et al., eds, 2008, pp. 40–41).
Fig. 19 Mold joins on Ya Chou lei
Fig. 20 Detail of the ear and the decorative pattern on the body of Ya Chou lei
A close examination reveals that the Minneapolis lei was cast quite differently. It is clearly observable that the lei has three large vertical mold sections. One join is at the center of the front (the side without a handle), placed between two hanging blades. The other two joins are located on the back side of the vessel, not far from the ears. Viewed from above, each mold section contains a pair of confronting dragons around the shoulder. Joins run through the bodies of two birds and a fire pattern on the frieze below the shoulder, and they meander further down to cause minimal disruption to the decoration (Fig. 19). The continuation of the joins across several friezes suggests there are no horizontal divisions in these areas.
Both ears, along with the handle, were precast. The back of each probably had a short tenon to join to the body when it was cast, thereby reinforcing their connection with the body. Traces of the body wrapping around the ends where they meet are clearly visible (Fig. 20). Joins are not visible around the lid, suggesting that it was likely cast with one mold piece in addition to the core and the embedded blocks for the knob.
The inscription on the inside of the neck is aligned with the handle on the back side of the vessel. The other inscription, on the interior of the lid, has clearly defined boundaries that can be explained by the process of how inscriptions were executed in the Late Shang. In general, the scripts were first brushed onto a clay block and then carved to create a model with the emblems in intaglio. A clay mold was taken from the model, and this inscription block was inserted into the desired location within the core. Based on observations of excavated cores carrying inscription blocks, Chinese archaeologists have suggested that the scripts were often trimmed and refined after being embedded within the core (Liu Yu et al., 2008, p. 86, Pl. 14).
As the above discussion shows, this enigmatic lei is one among many bronzes in Mia’s collection offering rewarding lines of inquiry. It will be the subject of the exhibition, Eternal Offerings: Ancient Chinese Bronzes from the Minneapolis Institute of Art, to be opened at Mia in February 2023.
Liu Yang is Chair of Asian Art and Curator of Chinese Art at the Minneapolis Institute of Art.
Selected bibliography
Anyang Municipal Institute of Cultural Relics and Archaeology, ‘Henan Anyang Liujiazhuang beidi shangdai yizhi muzang 2009–1010’, Wenwu 6 (2017): 4–29.
Robert W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collection, Washington, DC, 1987.
Editorial Committee of the Anthology of Chinese Bronzes, Zhongguo Qingtongqi Quanji. Beijing, 1993–98.
Guo Yanli, ‘Ye lun Subutun mudi de xingzhi’, in Sandai kaogu, 3 (2009): 247-72.
Institute of Archaeology, CASS, Yinxu qingtongqi, Beijing, 1985.
Institute of Archaeology, CASS, Anyang dasikong: 2004 nian fajue baogao, Beijing, 2014.
Bernhard Karlgren, A Catalogue of the Chinese Bronzes in the Alfred F. Pillsbury Collection, Minneapolis, 1952.
Li Ji, Li Ji wenji, Shanghai, 2006–8.
Liu Yu et al., ‘Yinxu chutu qingtong liqi zhuxing de zhizuo gongyi’, Kaogu 12 (2008): 80–90.
Li Xueqin, Zouchu yigu shidai, Shenyang, 1997.
Shandong Provincial Museum, ‘Shandong yidu subutun diyihao nuli xunzang mu’, Wenwu 8 (1972): 17–30.
Shandong Provincial Institute of Archaeological Institute and Qingzhou Municipal Museum, ‘Qingzhou shi subutun shangdai mudi fajue baogao’, in Haidai kaogu, vol. 1, Jinan, 1989.
Yan Zhibin, Shangdai qingtongqi mingwen yanjiu, Shanghai, 2013.
Yin Zhiyi, ‘Shandong yidu subutun mudi he “ya chou” tongqi’, Kaogu xuebao 2 (1977): 23–34.
Yue Hongbin et al., eds, Yinxu xinchutu qingtongqi, Kunming, 2008.
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