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These two bronze objects come from the tomb of Zenghou Yi (see More About Excavations at the Tomb of Marquis Yi), marquis of the state of Zeng. They probably belonged originally to his father or grand-father. According to inscriptions on a dedication inside Zenghou Yi's tomb, Zeng was in alliance with the larger state of Chu at the time of his death in 433 B.C. The designs on many of the objects inside the tomb show the influence of Chu culture.
The bronzes buried with Zenghou Yi are remarkable for their weight, size, and lavish decoration. The practical function of the zun and pan -- as a wine vessel and a basin -- is almost obscured by the profusion of wormlike, serpentine forms that writhe over their surfaces. To our eyes, such decoration seems overly ornate, even gaudy.
Decoration like this was made technically possible by the new lost-wax casting process, in which the shape of the final bronze was formed initially in wax, whose softness and malleability allowed for more intricate and three-dimensional shapes. The decoration of the vessels also reflects a taste for inlay work that was asserting itself at this time; more than half of the objects from the Zenghou Yi tomb are inlaid, their patterns influenced by the painted designs on lacquer (see Painted lacquer coffin with phoenix and dragon design). In fact, the motifs used on lacquer, inlaid bronzes, and bronze pieces like this zun-pan pair are very similar, almost interchangeable, as if craftspeople working in all media were attempting to communicate the same message.
The kingdom of Chu frequently challenged Zhou supremacy during the Warring States period. It did this in the political and military realm, of course, but also by devising ways to produce sumptuous versions of court objects associated with Zhou culture. Zhou rule stipulated certain conventions based on rank in the lineage system, including restrictions on the number and type of bronzes that an individual could own. The inscriptions on Zenghou Yi's bronze objects speak solely of his ownership, neither addressing ancestors nor acknowledging a higher authority. The bronzes appear to have been made strictly to impress. In fact, it would probably have been impossible to pour liquid from the zun. The vessels' extravagance expresses their owner's status and prestige at a time when loyalties and allegiances were constantly shifting.
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