A History of China by Wolfram Eberhard (read a book .TXT) 📕

After the discovery of this culture, its pottery was compared with the painted pottery of the West, and a number of resemblances were found, especially with the pottery of the Lower Danube basin and that of Anau, in Turkestan. Some authors claim that such resemblances are fortuitous and believe that the older layers of this culture are to be found in the eastern part of its distribution and only the later layers in the west. It is, they say, these later stages which show the strongest resemblances with the West. Other authors believe that the painted pottery came from the West where it occurs definitely earlier than in the Far East; some investigators went so far as to regard the Indo-Europeans as the parents of that civilization. As we find people who spoke an Indo-European language in the Far East in a later period, they tend to connect the spread of painted pottery with the spread of Indo-European-speaking groups. As most findings of painted pottery in the Far East do not stem from scientific excavations it is difficult to make any decision at this moment. We will have to wait for more and modern excavations.

From our knowledge of primeval settlement in West and North-West China we know, however, that Tibetan groups, probably mixed with Turkish elements, must have been the main inhabitants of the whole region in which this painted pottery existed. Whatever the origin of the painted pottery may be, it seems that people of these two groups were the main users of it. Most of the shapes of their pottery are not found in later Chinese pottery.

7 The Lung-shan culture

While the Yang-shao culture flourished in the mountain regions of northern and western China around 2000 B.C., there came into existence in the plains of eastern China another culture, which is called the Lung-shan culture, from the scene of the principal discoveries. Lung-shan is in the province of Shantung, near Chinan-fu. This culture, discovered only about twenty-five years ago, is distinguished by a black pottery of exceptionally fine quality and by a similar absence of metal. The pottery has a polished appearance on the exterior; it is never painted, and mostly without decoration; at most it may have incised geometrical patterns. The forms of the vessels are the same as have remained typical of Chinese pottery, and of Far Eastern pottery in general. To that extent the Lung-shan culture may be described as one of the direct predecessors of the later Chinese civilization.

As in the West, we find in Lung-shan much grey pottery out of which vessels for everyday use were produced. This simple corded or matted ware seems to be in connection with Tunguse people who lived in the north-east. The people of the Lung-shan culture lived on mounds produced by repeated building on the ruins of earlier settlements, as did the inhabitants of the "Tells" in the Near East. They were therefore a long-settled population of agriculturists. Their houses were of mud, and their villages were surrounded with mud walls. There are signs that their society was stratified. So far as is known at present, this culture was spread over the present provinces of Shantung, Kiangsu, Chekiang, and Anhui, and some specimens of its pottery went as far as Honan and Shansi, into the region of the painted pottery. This culture lasted in the east until about 1600 B.C., with clear evidence of rather longer duration only in the south. As black pottery of a similar character occurs also in the Near East, some authors believe that it has been introduced into the Far East by another migration (Pontic migration) following that migration which supposedly brought the painted pottery. This theory has not been generally accepted because of the fact that typical black pottery is limited to the plains of East China; if it had been brought in from the West, we should expect to find it in considerable amounts also in West China. Ordinary black pottery can be simply the result of a special temperature in the pottery kiln; such pottery can be found almost everywhere. The typical thin, fine black pottery of Lung-shan, however, is in the Far East an eastern element, and migrants would have had to pass through the area of the painted pottery people without leaving many traces and without pushing their predecessors to the East. On the basis of our present knowledge we assume that the peoples of the Lung-shan culture were probably of Tai and Yao stocks together with some Tunguses.

Recently, a culture of mound-dwellers in Eastern China has been discovered, and a southern Chinese culture of people with impressed or stamped pottery. This latter seems to be connected with the Yüeh tribes. As yet, no further details are known.

8 The first petty States in Shansi

At the time in which, according to archaeological research, the painted pottery flourished in West China, Chinese historical tradition has it that the semi-historical rulers, Yao and Shun, and the first official dynasty, the Hsia dynasty ruled over parts of China with a centre in southern Shansi. While we dismiss as political myths the Confucianist stories representing Yao and Shun as models of virtuous rulers, it may be that a small state existed in south-western Shansi under a chieftain Yao, and farther to the east another small state under a chieftain Shun, and that these states warred against each other until Yao's state was destroyed. These first small states may have existed around 2000 B.C.

On the cultural scene we first find an important element of progress: bronze, in traces in the middle layers of the Yang-shao culture, about 1800 B.C.; that element had become very widespread by 1400 B.C. The forms of the oldest weapons and their ornamentation show similarities with weapons from Siberia; and both mythology and other indications suggest that the bronze came into China from the north and was not produced in China proper. Thus, from the present state of our knowledge, it seems most correct to say that the bronze was brought to the Far East through the agency of peoples living north of China, such as the Turkish tribes who in historical times were China's northern neighbours (or perhaps only individual families or clans, the so-called smith families with whom we meet later in Turkish tradition), reaching the Chinese either through these people themselves or through the further agency of Mongols. At first the forms of the weapons were left unaltered. The bronze vessels, however, which made their appearance about 1450 B.C. are entirely different from anything produced in other parts of Asia; their ornamentation shows, on the one hand, elements of the so-called "animal style" which is typical of the steppe people of the Ordos area and of Central Asia. But most of the other elements, especially the "filling" between stylized designs, is recognizably southern (probably of the Tai culture), no doubt first applied to wooden vessels and vessels made from gourds, and then transferred to bronze. This implies that the art of casting bronze very soon spread from North China, where it was first practiced by Turkish peoples, to the east and south, which quickly developed bronze industries of their own. There are few deposits of copper and tin in North China, while in South China both metals are plentiful and easily extracted, so that a trade in bronze from south to north soon set in.

The origin of the Hsia state may have been a consequence of the progress due to bronze. The Chinese tradition speaks of the Hsia dynasty, but can say scarcely anything about it. The excavations, too, yield no clear conclusions, so that we can only say that it flourished at the time and in the area in which the painted pottery occurred, with a centre in south-west Shansi. We date this dynasty now somewhere between 2000 and 1600 B.C. and believe that it was an agrarian culture with bronze weapons and pottery vessels but without the knowledge of the art of writing.

THE SHANG DYNASTY (c. 1600-1028 B.C.)

1 Period, origin, material culture

About 1600 B.C. we come at last into the realm of history. Of the Shang dynasty, which now followed, we have knowledge both from later texts and from excavations and the documents they have brought to light. The Shang civilization, an evident off-shoot of the Lung-shan culture (Tai, Yao, and Tunguses), but also with elements of the Hsia culture (with Tibetan and Mongol and/or Turkish elements), was beyond doubt a high civilization. Of the origin of the Shang State we have no details, nor do we know how the Hsia culture passed into the Shang culture.

The central territory of the Shang realm lay in north-western Honan, alongside the Shansi mountains and extending into the plains. It was a peasant civilization with towns. One of these towns has been excavated. It adjoined the site of the present town of Anyang, in the province of Honan. The town, the Shang capital from c. 1300 to 1028 B.C., was probably surrounded by a mud wall, as were the settlements of the Lung-shan people. In the centre was what evidently was the ruler's palace. Round this were houses probably inhabited by artisans; for the artisans formed a sort of intermediate class, as dependents of the ruling class. From inscriptions we know that the Shang had, in addition to their capital, at least two other large cities and many smaller town-like settlements and villages. The rectangular houses were built in a style still found in Chinese houses, except that their front did not always face south as is now the general rule. The Shang buried their kings in large, subterranean, cross-shaped tombs outside the city, and many implements, animals and human sacrifices were buried together with them. The custom of large burial mounds, which later became typical of the Chou dynasty, did not yet exist.

The Shang had sculptures in stone, an art which later more or less completely disappeared and which was resuscitated only in post-Christian times under the influence of Indian Buddhism. Yet, Shang culture cannot well be called a "megalithic" culture. Bronze implements and especially bronze vessels were cast in the town. We even know the trade marks of some famous bronze founders. The bronze weapons are still similar to those from Siberia, and are often ornamented in the so-called "animal style", which was used among all the nomad peoples between the Ordos region and Siberia until the beginning of the Christian era. On the other hand, the famous bronze vessels are more of southern type, and reveal an advanced technique that has scarcely been excelled since. There can be no doubt that the bronze vessels were used for religious service and not for everyday life. For everyday use there were earthenware vessels. Even in the middle of the first millennium B.C., bronze was exceedingly dear, as we know from the records of prices. China has always suffered from scarcity of metal. For that reason metal was accumulated as capital, entailing a further rise in prices; when prices had reached a sufficient height, the stocks were thrown on the market and prices fell again. Later, when there was a metal coinage, this cycle of inflation and deflation became still clearer. The metal coinage was of its full nominal value, so that it was possible to coin money by melting down bronze implements. As the money in circulation was increased in this way, the value of the currency fell. Then it paid to turn coin into metal implements. This once more reduced the money in circulation and increased the value of the remaining coinage. Thus through the whole course of Chinese history the scarcity of metal and insufficiency of production of metal continually produced extensive fluctuations of the stocks and the value of metal, amounting virtually to an economic law in China. Consequently metal implements were never universally in use, and vessels were always of earthenware, with the further result of the early invention of porcelain. Porcelain vessels have many of the qualities of metal ones, but are cheaper.

The earthenware vessels used in this period are in many cases already very near to porcelain: there was a pottery of a brilliant white, lacking only the glaze which would have made it into porcelain. Patterns were stamped on the surface, often resembling the patterns on bronze articles. This ware was used only for formal, ceremonial purposes. For daily use there was also a perfectly simple grey pottery.

Silk was already in use at this time. The invention of sericulture must therefore have dated from very ancient times in China. It undoubtedly originated in the south of China, and at first not only the threads spun by the silkworm but those made by other caterpillars