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Tang Box Shosoin
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Tang Box Shosoin
Identification of the Object
The object given for discussion belongs to the treasury of the Tang Dynasty that ruled during the eighth century (from 618 to 907). The object is an 'octagonal box covered with tortoiseshell and decorated with mother-of-pearl inlay'. The object has first time been displayed in the seventieth exhibition of Shosoin treasures, besides fifty five other historical pieces.
Origin and Background of the Object
The object is kept in the Shosoin that is a treasure house in Nara, Japan. It used to keep valuable objects and act as a repository. It possessed a natural regulating system for climate, and the technique used to keep climate regular was that they built the floor at a height of two hundred and seventy centimeters. This architectural innovation allowed the air to pass beneath the building and prevented the building from the effects of humidity. Shosoin is the oldest museum or treasure house that exists still today (Nakamura & Naruse, 2016). It has the largest collection of Silk Road and has around ten thousand artifacts existing today. Among the objects, the Shosoin preserves bowls, pitchers, and cups that originate from Persia. It has cups made of horns of Indian rhinoceros. Other objects include the musical instruments made by artists of China, inlaid items with mother-of-pearl and lapis lazuli, boxes made of mulberry wood, crowns composed of silver and gold, and many others.
The octagonal box displayed in Shosoin demonstrates the finesse and mastery of craft in the Tang dynasty (Zhi & Cui, 2010). Tang dynasty is often referred to as the 'golden age' to glorify the period and show the magnificence of the era. The splendor of the Tang dynasty is especially notable for its early years. Most of the important treasure objects were crafted during the first half of the Tang dynasty rule era, that is, from 701 to 751. Several kinds of arts flourished during this period, including music, poetry, and arts. The Shosoin treasury was also established in the same period to preserve the precious pieces of work related to arts. The Shosoin used to preserve objects that include manuscripts, banners, instruments of music, cloths’ designs, work done on metal, ceramics, and lacquerware. The pieces of art demonstrated craftsmanship of the highest level and these works also reveal the techniques used by people in that period.
The Tang dynasty of China that was considered to be a golden age of increasing political influence, distinguished music, refined art, and masterful literature had a downfall, and the Japanese art emerged based on the preserved items kept in the Shosoin. Nara was proclaimed to be the center for Buddhist preaching, and modeled after the Tang capital, Chang’an. The national art was preserved in the country by involving in the international delegations and businesses. People were urged to travel outside the country to study and develop the state-of-the-art skills (Masaaki, 2019). The travels to and fro the other countries created opportunities for exchange of art and skills. People learned new skills from the outer world, and created new art by combining their native skills with those acquired in their foreign trips. The Shosoin displays a collection of almost fifty six monumental items that reveal the multicultural backgrounds of different objects.
The exhibition displayed a borderless portrayal of capabilities and skills reflected in the artworks. Among the artworks displayed, several were traced to be fetched in through the silk roads. The silk roads were the greatest means of transport as well as exchange in those days. The exchanges made through the silk roads were cultural, educational, traditional, and religious. Many of these exchanges can be seen clearly among the items displayed in the Shosoin treasury (Hayashi & Ricketts, 1975).
Another notable thing is that the Shosoin repository is the only place that holds objects made of organic materials of that specific period which is associated with the object under discussion. The Tang box is fragile in its being, and the Shosoin has played a vital part in preserving it as well as many other similar things. Further, the Shosoin is the only repository that exists today. Emperor Shomu built a temple and a repository along with it. The historical buildings are one of the most visited Buddhist sites in Japan today. The donations made are also huge and prove to be sufficient in making the further developments.
The pieces of art showing a variety of skills, kept in the repository, demonstrate that the creative skills of using inlay techniques had been fully developed during the eighth century. People were aware of the natural resources needed for completing their artworks. They have shown exquisite finesse in creating these arts. The octagonal tang box designed with various colors shows that the relevant expertise was up to the fullest extent in the people of Tang dynasty. They held the central position in the region at that time.
Description of the Object
The Tang box under study is a piece of fine work of art that is supposed to be widely considered as a masterpiece of its type. The Tang box is octagonal, that is, it has eight edges around it, which gives the box an attractive look. The artistic design of the object creates particular reflections about it. The octagonal shape indicates some mythical clues that add to its mysterious looks. The geometrical shape given to the box combined with the design crafted on it almost personifies its impression on the mind of the viewer. The silent, sober, and static box seems to contain a whole new world of hidden treasures, myths, and novelties that could only be informed of at its opening. However, the box was primarily designed to use as a donation-money-keeper. The aesthetic sense of that era’s people is evident by the object (Karetzky, 2002). They incorporated such cultural richness in crafting an object that was not of significant value. Therefore, the octagonal box can be considered as the best representative of that era’s art. It holds a fascinating appeal to viewers of this century as well, when centuries have already passed over the creation of work. The octagonal box fascinates a person today the same way as it had been doing so at the time of its creation.
The colors and design used in its crafting are much selective, mandatory, and reflective. The cultural elements can easily be traced by looking into the print inlaid on the box. The base color of black with an upper layer of almost yellow color makes the ground solid for further designing. There are three identical octagonal boxes, which are slightly different in colors. The design consists of a pattern of flowers clung to their respective branches with small pretty birds sitting among them. The pattern is simple and organic. The cover of the box or the design has been inlaid with mother-of-pearl that is a precious and very rare stone (Feilong, 2011). The box is, therefore, a precious art-piece that is original in its every respect. It manifests colors of joy, ease, and livelihood of the nation who made it. The tortoise shell used was acquired from the rare and expensive species that enriched the object with quality and worth. It also made it resistant to the usual changes in the environment and prolonged its exquisite finish.
The Shosoin treasury is the only place where the Tang dynasty’s heirloom pieces have been held safely. The octagonal tortoise-shell box is a work of art that represents luxury to its fullest extent. It represents an outclass mastery indicating the way of the artists who existed in the eighth century in China. It affirms the superior taste in developing art among the Chinese nation. The octagonal box is an indicator of the pleasure and splendor of imperial life during the eighth century. The Tang dynasty was at its peak then.
The octagonal box designed to offer sublime experience of craftsmanship had been a point of focal discussion between the management personnel who take care of such cultural issues and legacies. The object creates a feeling of craving in the viewer regarding it. It seems that the object has other facts as well that still have not been disclosed until now. The octagonal box has been regarded as a piece of transcendent craftsmanship and it does not allow the viewer to pass by without having a fascinatingly deep look over it.
Benefits of the Object
The object, the octagonal box, was associated with the donations received at the time of its development. The donations were mostly collected from the affluent class as it is evident from the quality and design of the box. The box is a little spacious that permits it to store a certain considerable amount of money. Apart from this, the box might have been used for keeping special items such as jewelry, etc. The Tang box developed for offering a magnificent experience by using a relatively smaller object expresses the sense of creativity and honor of the people who invented it.
Works Cited
Feilong, Z. (2011). On the Mother of Pearl Inlay in China [J]. Journal of Chinese Lacquer, 1.
Hayashi, R., & Ricketts, R. (1975). The Silk Road and the Shoso-in. Weatherhill.
Karetzky, P. E. (2002). Wu Zetian and Buddhist Art of the Tang Dynasty. Tang Studies, 2002(20–21), 113–150.
Masaaki, I. (2019). 2 The Imperial Treasures of the Shōsōin and the Collections of the Tang Emperors. East Asian Art History in a Transnational Context.
Nakamura, R., & Naruse, M. (2016). Scientific analysis of Japanese ornamental adhesives found in Shosoin treasures stored since the mid-eighth century. Journal of Cultural Heritage, 18, 355–361.
Watson, W., Paris, I. M., & Shepley, J. (1981). Art of dynastic China. Thames and Hudson.
Zhi, L., & Cui, X. (2010). Analytics of Tang Dynasty Treasure Appearance Floral Lines Pattern Construction Form [J]. Packaging Journal, 2(2), 73–76.
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