A Overview on Ancient Chinese Sculpture

By Chen Youbing in Chinese Study

Sculpture, also known as carving, is a broad term encompassing three main techniques: carving, engraving, and modeling. It refers to the creation of three-dimensional visual and tactile art forms using malleable materials like plaster, resin, or clay, or hard, carvable materials such as wood, stone, metal, jade, and glass. These sculptures are used to reflect social life and express the artist’s aesthetic sense.

The development of sculpture has been closely linked to human activities and has been influenced by various social ideologies, like religion and philosophy, throughout history. Even in the Paleolithic era, early humans made stone and bone carvings. Sculpture is generally viewed as a permanent art form, often considered the most typical of the visual and spatial arts, using static and three-dimensional forms to convey meaning.

Types of Ancient Chinese Sculpture:

1. Clay Sculpture
   Clay sculpture is one of the oldest forms of Chinese folk art, made by molding clay into various shapes, either plain or painted. A famous example is “Clay Figurines Zhang” from Tianjin. Clay sculptures include religious figures like Buddha statues, burial figures, and the terracotta soldiers of Emperor Qin Shi Huang’s mausoleum. Once fired in a kiln, these sculptures are called pottery. Pottery and clay art date back to the late Neolithic period, with early examples discovered along the Yellow and Yangtze Rivers. An example is the pottery eagle vessel found in Shaanxi Province, dating to 1975.
2. Stone Sculpture
   Stone sculptures are often made from materials like marble, granite, or various colorful stones such as Qingtian and Shoushan stones. Techniques fall into two main types:
   • Three-Dimensional Carvings: Statues of people and animals, columns, and architectural details.
   • Relief Carvings: Flat or raised designs for walls, plaques, and frames. There are twelve main categories of stone sculptures, including:
   • Decorative and Collectible Items: Small ornaments for personal enjoyment.
   • Rock-Cut Caves and Cliff Sculptures: Famous examples include the Dunhuang, Yungang, and Longmen Grottoes.
   • Mausoleum Sculptures: Memorial statues and carvings at tombs, like the stone figures at Emperor Wu of Han’s Maoling.
   • Palace and Garden Sculptures: Intricate carvings found in places like the Forbidden City and Summer Palace in Beijing.
   • Temple and Altar Sculptures: Stone columns, railings, and shrines, such as those in the Yonghe Temple.
   • Stone Bridges: Carvings on bridges, like the Zhao Bridge in Hebei and the stone lions of Lugou Bridge in Beijing.
   • Stone Gates and Archways: Ornate stone archways, such as those at the Confucius Temple.
   • Stone Towers: Sculptures on pagodas, like the reliefs at Lingyin Temple.
   • Monumental Inscriptions: Memorial stones, like the uninscribed tablet of Empress Wu Zetian.
   • Figures and Animals: Statues of famous people, deities, and protective stone lions.
   • Everyday Items: Carved stone furniture and tools, like tables and ink stones.
   • Modern Urban Sculptures: Large city sculptures, like the Monument to the People’s Heroes in Tiananmen Square.

One of the earliest examples of large stone sculptures in China is the set of sixteen animal carvings at the tomb of General Huo Qubing from the Western Han dynasty. These carvings, symbolizing the battlefield in Qilian Mountains, merge nature with mythological elements. The designs are simple yet powerful, using the stone’s natural forms to convey vitality and monumentality. The stone pillars found at the site of the Southern Yue Kingdom’s palace are considered the earliest known stone railings in Chinese architecture.

Bronze Sculpture
Bronze sculpture flourished during the Shang, Western Zhou, Spring and Autumn, and Warring States periods, primarily taking the form of ritual vessels that also carried sculptural elements, often depicting humans, animals, or mythical creatures. These bronze works held significant political, religious, and ceremonial importance in the lives of the nobility. Each era had its own distinct features:

• Shang Dynasty: The art had a mysterious and intimidating quality, often blending humans and animals in spiritual or mythical forms. Examples include the human-faced relief on the square ding (a ceremonial cauldron) found in Hunan, and the tiger devouring a human on the wine vessel called you, as well as elephant and boar-shaped vessels.
• Western Zhou Period: The style became more realistic and rational. Sculptures began to reflect human experiences and included works like the “Gatekeeper Tripod,” featuring a punished, footless slave, and animal-shaped vessels such as the duck and horse figurines.
• Spring and Autumn to Warring States Period: The style evolved towards decorative opulence. An example is the intricately adorned animal vessel found in Shanxi. The famous rhinoceros-shaped zun from Shaanxi demonstrates extraordinary realism, capturing the animal’s physical details and sense of motion. Additionally, bronze items like supports, lamp bases, and chariot fittings brought human and animal forms to life in dynamic ways. Notable pieces include the lively human-shaped stands unearthed from Eastern Zhou tombs in Henan and the fierce tiger attacking a deer base from Hebei’s Zhongshan State tombs. In Hubei’s Zeng Hou Yi tomb, painted bronze warriors, representing the Warring States’ style, stand as iconic examples. The Sanxingdui masks from Sichuan, featuring exaggerated eyes, represent ancient Shu culture from 5,000 years ago, aligning with early Shang times.

Wood Sculpture
Wood sculpture developed as a craft separate from woodworking, often termed “folk art.” It falls into three main categories:

• Free-standing Sculptures: Entirely carved from wood.
• Root Carving: Using natural tree root shapes.
• Relief Carving: Designs carved into flat surfaces.
  Carved wood objects were sometimes painted to protect and beautify the wood. Artists used dense, durable woods like nanmu, rosewood, camphor, cedar, ginkgo, and red sandalwood. Uses included:

1. Religious Figures: Statues of deities, such as bodhisattvas and the laughing Buddha, placed in temples or home shrines.
2. Architectural Decorations: Elaborate carvings in structural elements like beams, ceilings, brackets, doors, and windows, as seen in traditional Chinese buildings. Furniture, such as beds, tables, and screens, often featured detailed woodwork.
3. Collectible Art: Display pieces carved from rare woods, such as root carvings for artistic appreciation.

Jade Sculpture
Jade, valued for its luster and toughness, has long been cherished, with China, New Zealand, and Mexico being major historical producers. In China, jade craftsmanship dates back over 7,000 years to the early Neolithic Hemudu culture. By the Shang dynasty, jade carving techniques had matured. Various types of jade, like white, green, and black jade, as well as rarer stones like jadeite, agate, and crystal, were used. Jade sculptures range from small ornaments, such as rings and pendants, to practical items like bowls and chopsticks. One example is the grand jade work Jade Sea of Fortune by Zhu Yongtai from the Qianlong period, which took over four years to complete and remains displayed in the Forbidden City. Another masterpiece, The Jade Mountain of Yu the Great Controlling the Waters, also by Zhu, weighs over 10,000 pounds and features gold inlay and carved poetry. Jade carving uses a grinding method with diamond tools and water, as the stone is too hard for simple knife carving. Thus, jade pieces take a long time to create.

Lacquer Sculpture
Lacquer sculpture, or carved red lacquer, involves carving intricate designs into layers of lacquer applied to a base. China was one of the earliest nations to use natural lacquer, with artifacts dating back 7,000 years to the Hemudu culture. The Tang and Song dynasties saw the development of this art form, where artisans would build up layers of red lacquer and carve into them before the layers dried fully. The process involved complex steps, from creating the base to layering and polishing, making lacquer sculptures prized and expensive.

• Song and Yuan Periods: Artists like Yang Mao and Zhang Cheng from Zhejiang were renowned. Yang’s works had smooth, hidden cuts, while Zhang was known for lush floral motifs. Few Song lacquer pieces survive today, with some housed in the Forbidden City and major museums.
• Ming Dynasty: The craft peaked during the Yongle and Xuande reigns, with Zhang Cheng’s descendants continuing the tradition. Techniques and designs evolved, with patterns like floral scenes becoming more intricate.
• Qing Dynasty: The art flourished under imperial patronage, especially during the Qianlong era. Craftsmen developed detailed techniques, and lacquerware appeared in a wide range of items, from dishes to furniture. Each step was meticulously executed by specialized artisans. Over time, however, the quality and artistry of lacquer carving declined, reflecting the Qing dynasty’s broader struggles.

1. Prehistoric Era

Neolithic Sculptures

The Neolithic period saw sculptures depicting humans, various animals, and mythical creatures like dragons. Most of these were made from clay, though some were carved from stone, jade, ivory, or bone. Techniques included both three-dimensional sculpture and relief carvings, often adorning pottery lids, rims, or shoulders. Early inhabitants along the Yellow and Yangtze Rivers began making clay and ceramic figures. For example, a beautifully crafted ceramic eagle-shaped ewer was unearthed in 1975 at a Yangshao culture burial site in Huaxian, Shaanxi. Other small clay animal sculptures have been found at various Neolithic sites, like the Qujialing culture in Hubei and the Hemudu culture in Zhejiang.

These small ceramic animals, such as birds, pigs, and fish, seem to have been made with leftover clay, and it remains uncertain if they served as children’s toys or held other purposes. Their playful and expressive forms reflect the creators’ observations of daily life and carry an air of mystery. The figures are simple yet exaggerated, embodying an unrefined beauty that laid the foundation for more complex sculptures that came later.

Key Neolithic Cultures

1. Yangshao Culture: Spanning from 7000 to 5000 years ago, this culture is renowned for its colorful pottery, often decorated with fish, deer, and abstract geometric patterns. Examples include fish-patterned pots and human-faced net-patterned bowls from Banpo, near Xi’an.
2. Longshan Culture: Emerging around 4000 to 3000 BCE, this culture marked advances in pottery-making, including the use of fast wheels and thin-walled “egg-shell” pottery. The black, lacquer-like pottery produced using controlled firing techniques remains notable.
3. Hongshan Culture: Famous for jade sculptures, including goddess figures and the “pig-dragon” motif, some works found at ceremonial sites like Niuheliang in Liaoning are life-sized and intricately designed.

Artistic Techniques: Early Neolithic pottery pieces were often hand-crafted, with simple designs and uneven thickness. Common shapes included bowls, pots, and jars. Decorations featured patterns like rope designs, incised lines, or dots. The sculptures and pottery reveal an evolution in craftsmanship, from simple animal and human forms to more sophisticated, stylized designs.

Mythological Influence: Mythical animals such as dragons began appearing, suggesting a blend of spiritual beliefs with everyday life. The dragon forms, as seen in shell arrangements from the Puyang tombs, closely resemble later depictions.

Integration with Painting

Neolithic pottery was also decorated with colorful designs using black, white, and red pigments. These early artworks showcase organized patterns, symmetry, and balance, reflecting the artistic achievements of the time. The designs ranged from abstract motifs like waves and spirals to depictions of humans and animals, emphasizing both practicality and artistic expression.

Representative Works

1. Hemudu Culture Pig-Patterned Bowl
The Hemudu Culture, discovered in Hemudu Town, Yuyao, Zhejiang, is the earliest known culture of the lower Yangtze River, dating back approximately 7,000 years. Pottery from this culture was still hand-crafted, characterized by the use of carbon-mixed black clay. The clay was fired at low temperatures, resulting in a porous texture with thick walls.

The bowl has a rectangular shape with rounded corners and a flat base, measuring 11.6 cm high, 21.2 cm long, and 17.2 cm wide. It is made of carbon-black clay. The outer walls are adorned with realistically carved pig motifs, depicted in motion with their heads lowered, round eyes wide open, seemingly searching for food. The pig’s body is slightly inflated, decorated with circular and leaf-like patterns, and its bristles stand upright while its tail curls down, blending harmoniously with the design. This composition reflects the Hemudu people’s simple yet imaginative artistic vision. The detailed depiction of the pig not only captures a lifelike quality but also exudes a natural charm, making the bowl both a practical and artistic masterpiece. This artifact provides valuable insights into Hemudu pottery craftsmanship, early artistic techniques, and the domestication of pigs 7,000 years ago.

2. Human-Headed Painted Pottery from Qinan, Gansu
Among the many human-headed ceramic sculptures from the Yangshao Culture, two pieces stand out:

Human-Headed Red Pottery Vessel (1973, Dahewan, Shaodian, Qinan, Gansu)

This vessel, discovered in 1973, belongs to the Miaodigou phase of the Yangshao Culture. It is crafted from fine red clay, measuring 31.8 cm high with a 4.5 cm mouth diameter and 6.8 cm base diameter. The pot has a cylindrical form with pointed ends, slightly tapering at the base, and remnants of dual handles. The mouth is sculpted into a human head with carefully detailed hair: a short fringe on the forehead and neatly combed locks draping on all sides. The features include a garlic-shaped nose and hollowed-out eyes and mouth, imparting a sense of depth. The ears have small perforations, likely for earrings. The pottery’s surface is decorated with faint red pigment and geometric patterns in black, seamlessly combining abstract lines with the human form. This vessel exemplifies both functionality and artistry and is now housed in the Xi’an Banpo Museum.

Human-Headed Painted Pottery Jar (1975, Sizui, Qinan, Gansu): Unearthed in 1975, this jar belongs to the early Majiayao phase, about 5,100 years ago. It stands 26 cm tall, coated in orange-yellow slip. The mouth features a sculpted human head with short hair, perforated earlobes, and prominently outlined eyes created with clay strips, giving the figure a vivid expression.

3. Banpo Human-Face and Fish-Patterned Painted Pottery Basin

This artifact from the Yangshao Culture was found in Banpo, Shaanxi. The Yangshao Culture, named after the first discovery site in Yangshao Village, Henan, dates from 5,500 to 3,000 BCE. The pottery is categorized into various styles, including the Banpo and Miaodigou types.

The Banpo Human-Face and Fish-Patterned Painted Basin, a representative piece, features depictions of human and fish motifs, demonstrating the rich symbolism and artistry of prehistoric Chinese pottery.

This pottery basin, a representative artifact of Yangshao painted pottery, was discovered in 1955 at the Banpo site in Xi’an, Shaanxi Province. It dates back to the early Neolithic period and is a significant example of early Chinese ceramic artistry. These basins were often used as lids for child burial urns, a distinctive funerary practice in the Yangshao Culture. The custom involved placing deceased children in large pottery urns, using a basin as a lid, and burying them near their homes.

The basin stands 16.5 cm high with a 39.5 cm diameter and is made of fine red clay. The interior walls are painted with symmetrical human-face and fish motifs in black. The design features bold and exaggerated elements: the human face is round, with a prominent, triangular hair bun on top. The forehead is partly shaded black, with a sickle-shaped area left unpainted. The eyes are depicted as thin horizontal lines, the nose is a “┸” shape, and the mouth, clasping two fish, completes the stylized face. On either side of the head, small fish are positioned near the ears.

Between the human faces are two larger fish, swimming in the same direction as if chasing each other. The triangular fish heads, round eyes, and diagonal diamond patterns on the bodies give a sense of motion and liveliness. The fish are sketched with simple yet precise lines, capturing their essence vividly. The overall design is ancient and rustic yet imbued with a sense of the fantastical and bizarre.

Scholars have suggested that the imagery on the basin might be linked to totemic beliefs or economic practices of the Banpo people. The human-face and fish motifs could represent a shamanistic figure, possibly related to spiritual rituals. According to the Classic of Mountains and Seas (Shanhaijing), there are references to shamans adorned with “snakes” or serpentine figures around their ears, interpreted here as fish in the artistic context. This may symbolize a ritual act of calling upon fish spirits to guide the souls of deceased children to the afterlife.

The stylized decoration and the imaginative merging of human and fish forms reflect both the artistry and spiritual beliefs of the Banpo people, emphasizing their reverence for fish, which played a crucial role in their lives. This piece, along with several similar basins found at the Banpo site, is currently housed in the National Museum of China.

4. Miaodigou-style Painted Pottery

Miaodigou-style pottery, part of the Yangshao Culture, was named after the archaeological site in Miaodigou, Shan County, Henan Province. It developed later than the Banpo-style pottery and is known for its distinctive shapes and decorative patterns. The most common form is a large-mouthed, bulbous vessel with a small flat base. Other typical shapes include shallow-bellied bowls, inward-curved jars, long-necked jars, and sharp- or flat-bottomed bottles with thickened rims.

The pottery is often decorated using black or dark purple paint, featuring geometric designs such as dots, hooked leaves, arcs, triangular bands, parallel lines, spiraling hook patterns, and grid motifs. There are also biomorphic and plant-based patterns.

Among the most exquisite pieces from this style are the Black Pottery Eagle Vessel and the Stork, Fish, and Stone Axe Painted Pottery Urn.

Black Pottery Eagle Vessel

Standing only 36 cm tall, this eagle-shaped vessel conveys a sense of power and grandeur. The eagle’s chest forms the rounded body of the vessel, with the opening positioned on the back. The eagle’s eyes are wide and expressive, and the smooth, undecorated body adds to the sculpture’s sense of strength. The beak is sharply curved, and the overall design is simple yet impactful. The eagle’s talons and tail serve as sturdy supports, anchoring the vessel firmly, while its wings curve backward around the vessel, creating a poised, forward-striking appearance. This design gives the small sculpture a striking presence and a sense of wild majesty. Some similar vessels have owl-shaped heads, likely reflecting totemic beliefs. Certain lids or spouts are shaped like human or animal heads, displaying a playful and naive charm.

Stork, Fish, and Stone Axe Painted Pottery Urn

This remarkable urn was unearthed in 1978 in Yancun, Linru County (now Ruzhou City), Henan Province. It belongs to the Yangshao Culture and served as a burial vessel. Made from sand-tempered red clay, the urn was shaped on a pottery wheel and painted before firing. It stands 47 cm high, with a mouth diameter of 32.7 cm and a base diameter of 19.5 cm. The urn has a wide mouth, rounded lip, deep belly, and flat base, with four symmetrical knobs below the rim. The most striking feature is the painted scene on one side, covering nearly half of the urn’s surface (37 cm high and 44 cm wide).

The painting is divided into two sections: on the left is a tall, graceful stork with a striking white body, outlined in black. The stork’s large, round eyes and long beak are raised confidently, with its body slightly tilted back. In its beak, it holds a large fish, which appears stiff and motionless, in stark contrast to the lively and majestic stork. On the right side of the scene stands a stone axe with a wooden handle, adorned with intricate carvings and symbols. The axe handle is wrapped with corded patterns, rendered with meticulous black lines that emphasize realism and detail.

The artist skillfully painted the stork’s feathers with a soft, all-over white, akin to the later Chinese painting technique called “mò” (unoutlined color wash). The fish and axe are depicted using bold outlines and color filling, similar to “gou” (line drawing) and “tian” (color filling) methods in traditional Chinese painting. Some scholars suggest that this painting represents the earliest form of Chinese pictorial art.

The vivid scene, with its harmonious color palette and sense of timeless elegance, captures a powerful narrative and aesthetic. It remains the earliest and largest ceramic painting discovered in China and is housed in the National Museum of China. In 2003, it was listed among 64 invaluable cultural relics prohibited from leaving the country for exhibitions.

5. Sunjiazhai Dancing Figure Painted Pottery Basin

The Sunjiazhai Dancing Figure Painted Pottery Basin, a prized artifact from the Majiayao Culture (3300–2050 BCE) of the Neolithic era, was discovered in 1973 in Shang Sunjiazhai, Datong County, Qinghai Province.

This pottery basin stands 14.1 cm tall, with a diameter of 29 cm at the mouth and 10 cm at the base. Made from fine red clay, the basin has a wide, slightly inward-curving mouth, a rolled rim, and a full, rounded belly tapering to a small flat bottom. Black paint was used to decorate the piece. Simple line patterns adorn the rim and upper exterior, while the primary decoration—a scene depicting dancing figures—is painted on the inner wall.

The design features three groups of dancers, each with five figures holding hands and dancing in a unified direction. The figures have head ornaments resembling braided hair and flowing decorations around their lower bodies, suggestive of skirts swaying with movement. The head and lower decorations flow to the sides, enhancing the sense of dynamic motion. Notably, the outermost figures in each group have their outer arms drawn as double lines, suggesting large, frequent movements. This representation of continuous motion predates similar concepts found in Western modern art and demonstrates an impressive early understanding of depicting motion.

The discovery of this pottery basin was a moment of excitement for archaeologists. It provided the first concrete visual evidence of Neolithic dance, reflecting the rituals and celebrations of early societies. Dance played a significant role in ceremonies for harvest celebrations, victories, prayers, and ancestor worship. The depiction confirms that group dances were a vibrant part of daily life.

The pottery basin’s design highlights the skillful pottery techniques and the evolving aesthetic sensibilities of the time. The dancers are rendered using a flat, monochrome style, with bold, clean lines. The figures are arranged in a circle around the basin, with four parallel lines below them, representing the ground. When filled with water, the dancers’ reflections would create a mesmerizing effect, as if dancing around a tranquil pond. This vivid portrayal brings to life the joy and vitality of communal dance.

The Sunjiazhai Dancing Figure Painted Pottery Basin is currently housed in the National Museum of China.

6. Dawenkou Pig-Shaped Grey Pottery Gui

The Pig-Shaped Grey Pottery Gui, an iconic vessel from the Longshan Culture (2600–2000 BCE) with origins in the mid-Dawenkou Culture, was discovered in 1975 at the Silihe site in Jiaozhou, Shandong Province.

A gui is a typical Neolithic pottery vessel, primarily used for cooking or warming alcohol. Gui vessels were crafted in two styles: solid-legged and hollow-legged. Solid-legged gui were made with a spout, a rounded body, and three conical feet. The hollow-legged gui featured large hollow supports that formed part of the belly. These vessels came in coarse, sand-tempered clay for utilitarian purposes, often with smoky residues and traces of wine dregs. Finer gui, made of more refined clay, were likely used for serving wine.

This particular piece, a pig-shaped grey pottery gui, measures 21.5 cm long and 18.5 cm high. It has a grey-brown exterior resembling pig skin. The vessel is shaped like a pig, with a short, thick head, upright ears, and tusks visible at the sides of the snout. The body is round and stout, with a flat back that supports the opening of the vessel. A spout extends from the back, and a rounded horizontal handle lies across the spine. The pig’s hind features a short, curled tail.

Pigs were a significant part of the Dawenkou culture, symbolizing wealth and status. Archaeological sites have revealed abundant pig bones, indicating that pork was a staple food. In death, as in life, pigs were used as burial offerings, signifying prosperity. At Silihe, 18 graves contained pig mandibles as grave goods, with the number of mandibles ranging from two to 37. Graves with more pig offerings often had richer burial goods and larger tombs.

The Pig-Shaped Grey Pottery Gui embodies the Dawenkou people’s affinity for pigs and their love of alcohol. It is now preserved in the National Museum of Chinese History.

7. Dawenkou Painted Pottery

Discovered in 1953 at the Gangshangcun site in Tengxian County, Shandong Province, Dawenkou Painted Pottery belongs to the Neolithic Dawenkou Culture, which dates back around 6,000 years. The pottery features a wide range of colors, including black, white, red, brown, ochre, and yellow. During this period, techniques like oxidizing and reducing flames were used to create diverse hues.

The motifs are primarily geometric and plant-based, lacking depictions of animals or human figures. Common designs include petal patterns, eight-pointed stars, diamonds, cloud scrolls, thunder patterns, sun motifs, water waves, radiating lines, dots, circles, wide bands, zigzags, herringbone patterns, slanting lines, parallel lines, grids, triangles, linked curves, lattice patterns, checkerboards, arcs, woven motifs, shell patterns, spirals, and taotie (mythical beast) motifs. These intricate patterns are carefully arranged, often separated by parallel lines with triangular decorations in between. Typical vessel shapes include goblets, handled cups, beakers, tripod bowls, stemmed plates, handled stemmed plates, jars, pots, water carriers, kettles, cauldrons, pedestals, basins, bowls, and drums.

8. Majiayao Painted Pottery

First discovered in Majiayao, Lintao County, Gansu Province, Majiayao Painted Pottery represents a late stage of the Yangshao Culture, dating from 3300 to 2050 BCE. It serves as a cultural bridge, connecting the Miaodigou and Qijia cultures. The pottery, primarily made from fine or sand-tempered red clay, is richly decorated. Compared to other painted pottery, Majiayao vessels have more extensive painted surfaces, including both the exteriors and sometimes even the interiors of large-mouthed pots and sand-tempered cooking vessels.

Majiayao designs are elaborate and vibrant, showcasing complex, rhythmic patterns. Sand-tempered pottery is often adorned with rope-like textures, while some feature parallel lines, zigzags, triangles, or added relief designs. The pottery forms include bowls, basins, jars, pots, bottles, and cups, indicating a high level of artistic and technical maturity.

9. Banshan Painted Pottery

Banshan Painted Pottery, unearthed at the Banshan Cemetery in Guanghe (Ningding), Gansu, is a development from the Majiayao Culture. It features richer, more intricate designs with a grand, luxurious aesthetic. The decorations are bold, with large, swirling motifs in black and red, complemented by jagged and triangular patterns. Interlocking shapes create a sense of movement, with alternating circles that connect seamlessly, producing a visual flow reminiscent of a continuous procession.

The combination of dynamic patterns and the pottery’s robust forms creates a striking sense of grandeur and unity.

10. Machang Painted Pottery

Machang Painted Pottery was discovered in 1924 by Swedish geologist Johan Gunnar Andersson at Bianqiangcun, Machangyuan, Minhe County, Qinghai Province. It belongs to the late Neolithic period along the upper Yellow River. The pottery is decorated with large circle motifs, jagged patterns, spirals, and wave designs, distinguishing it from Majiayao designs and reflecting a unique cultural perspective.

11. Qijia Painted Pottery

Unearthed at Qijiaping, Guanghe, Gansu Province, Qijia Culture pottery was discovered in 1924 by Andersson. It marks a transition from the late Neolithic to the early Bronze Age. Qijia pottery is distinctive, featuring amphora-like jars with large handles, reminiscent of ancient Greek and Roman designs.

The pottery, primarily red or orange clay, is often unpainted, though some simple painted designs remain. The motifs are minimalistic, usually comprising diamond grids, triangles, or basic geometric patterns. The pottery shapes are varied and include small jars, bowls, and amphoras, with fewer painted pieces compared to earlier cultures, reflecting a decline in painted pottery traditions.

12. Dawenkou Eight-Pointed Star Pattern Pottery Dou

The pottery dou, a type of ancient food vessel and a ceremonial offering container, emerged in the late Neolithic era and was commonly used during the Shang and Zhou periods. This Eight-Pointed Star Pattern Pottery Dou was unearthed in 1978 at the Dawenkou site in Taian, Shandong Province. It measures 26 cm in diameter at the mouth, 14.5 cm at the base, and stands 28 cm high. Made from fine red clay, the vessel features a round, flared lip, a deep bowl, and a trumpet-shaped pedestal. The bowl and base are coated with a deep red slip, while the sloping rim is decorated with alternating white crescent shapes and vertical lines in brown and red. The bowl’s body displays five white-painted eight-pointed star motifs separated by two vertical lines.

Scholars believe these star patterns symbolize the radiating light of the sun, with the star’s rays representing the boundless sky. The pedestal is adorned with two brown bands, each with white shell-like motifs, arranged symmetrically for a striking contrast. The design and color use on this pottery piece highlight Dawenkou’s advanced artistry. The artist skillfully used red and white contrasts to differentiate between sections, and black outlines for emphasis, creating a dynamic visual hierarchy. The central red square within the star motifs shows the artist’s careful attention to balance and harmony.

This masterpiece is currently housed in the Shandong Museum.

13. Qingpu Black Pottery Cup with Broad Handle and Spout

This black pottery cup, characteristic of the Liangzhu Culture, was discovered in 1983 at a burial site in Fushan Mountain, Qingpu County, Shanghai. It is a fine example of a Neolithic drinking vessel, standing 15 cm tall with a 7.4 cm mouth diameter and holding about 500 ml. The vessel has a cylindrical shape, with a flared mouth, a constricted neck, a round shoulder, and a slightly bulging body tapering to a concave base. A long, upturned spout protrudes from one side, resembling a playful waterfowl’s beak, and a wide, flat handle extends from the opposite side, creating a sense of visual balance.

The handle and spout are asymmetrically aligned, enhancing the cup’s stability and making it both functional and elegant. The entire vessel is crafted from grey-clay black pottery with a fine, even texture. The exterior is decorated with tightly arranged zigzag patterns made using a needle-etching technique, creating a dense, orderly appearance. Geometric bird motifs are interspersed between the zigzag lines. The vessel’s precise wheel-throwing and detailed ornamentation represent an advanced pottery-making craft of the time.

This artifact is part of the Shanghai Museum’s collection.

14. Yaoguan Village Pottery Gui

This Pottery Gui, a representative piece of Longshan Culture, was discovered in 1960 at Yaoguan Village, Weifang, Shandong Province. It dates back to 2400–2000 BCE. The vessel stands 42 cm high and is made from fine sand-tempered yellow clay. It features a long, upward-tilted spout shaped like a bird’s beak, a thick neck connecting to a rounded body, and three sturdy conical feet. The back foot is placed farther apart from the front two, providing a unique balance. A rope-patterned handle decorates the neck, and the body is adorned with raised stud motifs.

A twisted rope handle connects the neck to the rear foot, and two concentric raised bands encircle the feet. Between these bands, four small clay discs are arranged. The entire vessel is coated in a yellow slip, and the spout’s striking upward curve gives it the appearance of a rooster crowing, exuding vitality and strength. This piece showcases the bold and robust style of Longshan pottery and is regarded as a masterpiece of ancient ceramic art.

15. Longshan Eggshell Black Pottery Goblet

The Eggshell Black Pottery Goblet, a hallmark of Longshan Culture and a pinnacle of ancient Chinese ceramic artistry, was excavated at the Silihe site in Jiaozhou, Shandong Province. These vessels, dating back over 4,000 years, are known for their refined, minimalistic style and advanced craftsmanship, with some goblets as thin as 0.3 mm and weighing as little as 40 grams. Their absorbency is remarkably low, measuring only 0.43%.

The taller goblet stands 22.6 cm high with a 9 cm mouth diameter. It has a wide, sloping rim, a deep bowl, and a slender, bamboo-like stem with eleven segments, ending in a high, flared base. The glossy black surface is smooth and polished, with the middle of the bowl adorned with six recessed lines. The stem features an intricately perforated hollow section, which contains a clay ball that produces a delicate sound when shaken, also stabilizing the goblet when set down.

The shorter goblet is 16.8 cm high with an 8.5 cm mouth diameter and a 4.2 cm base. It has a shallower rim, a deep bowl, and a short connecting stem to the base, with three vertical perforations near the foot. These exquisite vessels were likely ceremonial wine cups reserved for high-status individuals, as evidenced by their presence in large, well-furnished graves.

These remarkable pieces reflect the craftsmanship of the Eastern Yi people and are celebrated for their elegance and ingenuity.