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Mirroring China’s Past: Emperors and Their Bronzes

February 25, 2018–May 13, 2018
Regenstein Hall
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Chinese bronzes of the second and first millennia BC are some of the most distinctive achievements in the history of art. Exquisitely ornamented, these vessels were made to carry sacrificial offerings, to use in burial, or to commemorate family in public ceremonies. When they were found by emperors centuries later, these spiritually significant objects were seen as manifestations of a heavenly mandate on a ruler or dynasty and became prized items in imperial collections. This exhibition—the first to explore how these exquisite objects were collected and conceptualized throughout Chinese history—presents a rare opportunity to experience such a large number of these works together in the United States.

Unlike Greek and Roman bronze sculptures of human and animal forms, most objects from Bronze Age China (about 2000–221 BC) were vessels for ritual use. Beginning with the Song dynasty (960–1279), emperors unearthed these symbolic works and began collecting them, considering them to be evidence of their authority and legitimacy as rulers. Several 18th-century portraits of Emperor Quianlong include his bronze collection, demonstrating how ancient bronzes came to play a critical role in imperial ideology and self-fashioning. In addition to impressive collections, the royal fascination with bronzes led to the creation of numerous reproductions and the meticulous cataloguing of palace holdings. These catalogues are works of art themselves, featuring beautiful illustrations and detailed descriptions of each object.

From the 12th century onward, scholars and artists also engaged in collecting and understanding ancient bronzes, especially their inscriptions. This practice developed into a sophisticated discipline of antiquarianism known as jinshixue (the study of bronzes and stelae). Unlike emperors, who commonly employed art to promote and implement political and cultural policies, scholars regarded bronzes as material evidence of their efforts to recover and reconstruct the past, and they occasionally exchanged them as tokens of friendship. Today ancient bronzes still occupy a prominent position in the minds of the Chinese—as historical or nostalgic objects and as signifiers of an important cultural heritage that inspires new generations, as seen in the works of contemporary artists on view in this presentation. 

Mirroring China’s Past brings together approximately 180 works from the Art Institute of Chicago’s strong holdings and from the Palace Museum in Beijing, the Shanghai Museum, and important museums and private collections in the United States. By providing viewers with a new understanding of ancient bronzes and their significance through time, the exhibition illuminates the country’s fascinating history and its evolving present.

Sponsors

Lead support is generously provided by Debra and Leon Black.

Major support is provided by The Chauncey and Marion D. McCormick Family Foundation.

Additional funding is contributed by Mr. and Mrs. William Carey, Hong hong Chen, Giuseppe Eskenazi and Daniel Eskenazi, Winnie and Michael Feng, Virginia B. Sonnenschein and the Sonnenschein Exhibition Endowment Fund for Asian and Ancient Art, and Robert Tsao and Vivian Chen.

Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Neil Bluhm and the Bluhm Family Charitable Foundation; Jay Franke and David Herro; Kenneth Griffin; Caryn and King Harris, The Harris Family Foundation; Liz and Eric Lefkofsky; Robert M. and Diane v.S. Levy; Ann and Samuel M. Mencoff; Usha and Lakshmi N. Mittal; Sylvia Neil and Dan Fischel; Thomas and Margot Pritzker; Anne and Chris Reyes; Betsy Bergman Rosenfield and Andrew M. Rosenfield; Cari and Michael J. Sacks; and the Earl and Brenda Shapiro Foundation.

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Bell (nao), Western Zhou dynasty (1046–771 BC). China, probably Hunan province. Lucy Maud Buckingham Collection.