When we think of ancient China’s Shang Dynasty, images of elaborate bronze vessels and powerful elites often come to mind. These impressive artefacts have long captivated archaeologists and historians, offering glimpses into the rituals and power structures of this early Chinese civilization. However, the craftspeople who created these masterpieces have remained largely in the shadows of history.

A new study by Assistant Professor Wen Yin (Elaine) Cheng at Wilfrid Laurier University is bringing these ancient artisans into focus. Her work examines the often-overlooked artisans who used and made the tools of bronze vessel production – the casting moulds – to reveal their knowledge, skills, and organisation who shaped the Shang Dynasty’s material culture.

The Late Shang period, spanning from the 14th to 11th centuries BCE, was a time of great cultural and technological advancement in China. The dynasty’s capital, Anyang, was a hub of activity, home to complex rituals, sophisticated writing systems, and, of course, the production of those iconic bronze vessels. These vessels were more than just functional objects; they were symbols of prestige and power, intimately tied to the elite’s connection with their ancestors and their king.

While much research has focused on the finished bronze products and their use in Shang society, Cheng argues that studying the casting moulds allows us to gain unique insights into the people who actually created these objects. By identifying each production step, we can understand the artisan’s actions and thought processes throughout.

Bronze vessel casting moulds, also known as piece moulds, were ceramic objects specifically designed for the intricate process of bronze vessel casting. The use of these moulds began during the earlier Erlitou period but reached its peak during the Shang and Zhou dynasties. Artisans produced these moulds in sections, carefully piecing them together to form both the exterior shape and interior core of the desired bronze vessel.

The researchers focused their study on moulds from the Anyang site, the last capital of the Shang Dynasty. This expansive archaeological site has yielded a wealth of information about Late Shang society, including evidence of various specialised workshops for crafts such as pottery, bone carving, and jade working. Among these, five distinct bronze foundry regions have been identified, highlighting the importance of bronze production for the Shang economy and culture.

To understand the knowledge and choices made by Shang artisans, Cheng developed a theory called the artisan theory. This theory employs a theoretical framework based on the “sequence of production” to define the individual steps of production, and then relates these to the artisan’s technological knowledge and organization, consumers within their culture, and geographical availability.

Cheng believes that by looking at the artifacts beyond the transition of the raw material to the artifact our comprehension of the past can step away from the strict technological hierarchy often placed in the discussion of technology and begin to see the people who made, lived, and interacted with the artifacts.

This study identified two distinct types of casting moulds used at Anyang. Type 1 moulds were thin with smooth exterior surfaces, sometimes featuring protruding ribs. These moulds were made with very fine fabric and fired in a reducing atmosphere. In contrast, Type 2 moulds were thicker, with irregular exterior surfaces and built-in mortise and tenon joints along the edges.

By analysing these different mould types, Cheng was able to reconstruct the entire production sequence for bronze vessel casting moulds and discover a hidden specialist within the entire bronze vessel casting process. This process began with the careful selection and processing of raw materials. The artisans showed a clear preference for fine, silt-rich clay that could capture intricate details and withstand the intense heat of molten bronze. In some cases, the artisans added coarse materials to the exterior to support the thin casting surface

The forming stage revealed different techniques between the two mould types. Type 1 moulds were likely shaped through careful forming of the casting surface and smoothing of the exterior, while Type 2 moulds showed evidence of compression techniques. Despite these differences in production methods, both types of mould were used to create vessels with similar motifs and forms, suggesting that the artisans were working to meet standardised design requirements.

One particularly interesting finding was the evidence of how artisans managed the drying process. For Type 2 moulds, there were impressions of ropes on the exterior surfaces, indicating that the mould sections were tied together while still damp. This technique would have helped ensure that the pieces dried evenly and would fit together perfectly for casting.

The firing stage of production revealed a high level of technical skill and control. Both types of moulds were fired in a reducing atmosphere, likely using sophisticated kilns that allowed for precise management of temperature and air flow. Cheng estimates that firing temperatures were consistently maintained between 850 and 950 degrees Celsius, demonstrating the artisans’ mastery over this crucial step in the process.

Perhaps most intriguingly, the study revealed evidence of further specialisation and division of labour even within the bronze-casting industry at Anyang. While the two types of moulds showed differences in forming techniques, suggesting distinct groups of artisans, there were consistencies in raw material preparation and firing methods across both types. This indicates that certain stages of production, such as clay refining and kiln operation, may have been handled by specialised craftspeople who served two specific workshops where the casting moulds were produced out of the nine workshop regions.

The implications of this research extend beyond just understanding ancient technology. By reconstructing the production sequences of these casting moulds, Cheng offers us a window into the social organisation of Shang Dynasty craft production. Their findings suggest a complex system of specialised knowledge, shared resources, and interdependent artisan groups all working together to create the bronze masterpieces that have come to symbolise Shang civilization.

This study challenges our perceptions of ancient Chinese society, reminding us that behind every elaborate bronze vessel was a community of skilled artisans. These craftspeople, though often overlooked in historical records, played a crucial role in shaping the material culture and, by extension, the social fabric of the Shang Dynasty.

The research also highlights the value of studying seemingly mundane artifacts such as casting moulds. Cheng’s approach of studying bronze vessel casting moulds brings attention to the often-overlooked artisans and their expertise. This novel perspective introduces fresh discussions about Shang society by highlighting a group rarely mentioned in historical records.

Looking ahead, this work opens up exciting avenues for future research. By applying similar analytical techniques to casting moulds from different time periods or regions, archaeologists may be able to trace the evolution of bronze-casting technology and craft organisation across ancient China. Additionally, comparing the production sequences identified at Anyang with those from other early civilizations could yield fascinating insights into the parallel or divergent development of metallurgical technologies around the world.

Ultimately, Cheng’s study serves as a powerful reminder of the human ingenuity behind ancient artefacts. It challenges us to look beyond the surfaces of finished objects and consider the knowledge, skills, and social systems that made their creation possible. In doing so, we gain a richer, more nuanced understanding of past civilizations and the diverse groups of people who shaped them.