ETERNAL OFFERINGS

Chinese Ritual Bronzes From The Minneapolis Institute Of Art

Demonstrating The Ringling’s continuing commitment to the study of Asian art, Eternal Offerings showcases nearly 100 Chinese bronze objects from the Minneapolis Institute of Art. Its collection of this material is generally considered to be one of the most important in the United States, and The Ringling is the exclusive venue for this fascinating exhibition.

The works span millennia, revealing the evolution of the use of bronzes in Chinese society. The exhibition highlights how these objects were employed to conduct religious rituals, record significant events, and represent elite status from the Shang through Han dynasties (1600 BCE to 220 CE).

Like many ancient societies, China’s social cohesion was formed around ritualization. Most of the objects for these early rituals were made of bronze, and due to their important social function we can extrapolate that the forms and ornamentation depicted on them relate to some of the primary concerns of their societies. Several of the works in the exhibition point to the various types of rituals— including ancestral, funereal, and musical—found in early Chinese dynasties. Music was an integral element in communicating with spirits, and visitors to the exhibition will be able to see several sets of bells that were important adjuncts in these ceremonies.

Eternal Offerings also demonstrates the significant role of inscriptions on bronzes, especially in the later Western Zhou dynasty (1046 – 771 BCE). The notations often identify the person who made the piece, the event the vessel was designed for, and the ritual it was used in. As the system of rites concerning ceremonies, military campaigns, feasts, and meetings evolved, so too did the inscriptions found on these objects.

The markings have been critical to scholars as first-hand evidence of these ancient periods, as many other fragile texts have not survived. A gui food vessel from the 10th century BCE is a prime example of the in-depth knowledge that can be gleaned from these bronzes. The 45-character inscription reads:

“Zhou King went out to attack Laiyu, then Naohei. Upon return after victory, he held a liao-sacrifice (burnt-offering) at the capital Zongzshou. He presented to me, X, Duke of Yong, ten string of cowries. In response to extol the King’s grace, I have made this precious gui dedicated to ancestors. May for a myriad years sons and

This seemingly simple text serves as a window through which we can view early Western Zhou history and ritual practices. For instance, it uncovers an alternate explanation of the liao sacrifice. This ritual was thought to relate to the dieties of wind and rain, but the narration of this gui clearly refers to it being used for warfare.

Even more significantly, it has helped to solve one of the great puzzles of Chinese history: the location of the Yong region, whose very existence had been questioned for centuries. This vessel is the sole example bearing an inscription of the Duke of Yong. It not only provides tangible evidence of the Yong region, but through further study and, by comparing its style to recently excavated works, researchers feel confident in uncovering its precise location.

“The amount of nuance and knowledge in these relatively small objects is astounding,” said Christopher Jones, Associate Curator of Photography and Exhibitions. “When you are around them, the feeling of history is palpable. Through viewing these bronzes, visitors to Eternal Offerings will be transported back thousands of years to ancient China."

HOW WERE THEY CREATED?

China is unique in its use of the piece-mold casting system to create these objects; every other Bronze Age culture employed the lost-wax method. In piece-mold casting, a model is made of the object to be cast and then a clay mold is taken of the model. The mold is then cut in sections to release the model and the sections are reassembled after firing to form the mold for casting. While cumbersome, this method allowed decorative patterns to be carved directly on the inner surface of the mold prior to firing, thereby giving the bronzeworker the ability to create intricate designs with a high degree of sharpness and definition.

Model

Marvelous Miniature Mammoth

says Janice, the wife of Howard Tibbals. This is perhaps the most succinct way to explain Howard, who has been enthralled by the circus since he was five years old and still spends about 30-40 hours a week adding to his over 42,000-piece circus model, the largest in the world.

It is this model, which has been housed in The Ringling’s Tibbals Learning Center for 10 years now, that people associate most with Howard. In fact, when the Tibbals were at their granddaughter’s graduation ceremony at Virginia Tech last year, they happened to start talking to a man who had recently visited Sarasota. When they mentioned that they wintered in Sarasota, he immediately said, “Have you seen that model?!” and pulled out his cellphone full of pictures of it. As soon as he found out who he was sitting next to, all he wanted to do was talk with Howard.

Nearly anyone who sees the model cannot help but have a similar reaction. This enthusiasm and spreading of knowledge about the circus is what Howard hoped for when he brought it to The Ringling. The Howard Bros. Circus Model toured all over the country, including stops at The Henry Ford Museum in Dearborn, Michigan; the National Geographic Museum in Washington, DC; the Museum of Science and Industry in Rochester, New York; and even the 1982 World’s Fair in Knoxville, Tennessee. But ultimately, Sarasota and The Ringling were where Howard felt his model belonged, due to the region’s strong ties to the circus. When asked how he feels about being part of The Ringling, Howard simply says, “I’m proud of it.”

Howard’s contribution goes far beyond the model, which over 2.9 million people have seen while visiting The Ringling. In fact, it is his vast collection of posters, photographs, and other circus memorabilia stored in the center he helped build that

Howard considers most important. The circus has a significant place in the history of our country, growing as the country itself grew and mirroring the development of new technologies and social trends. Additionally, the circus has been an influential force in the evolution of popular entertainment and advertising. Without Howard and other collectors of this valuable archival material, which The Ringling brings to life through its exhibitions and programs, the rich traditions of the circus might have been lost.

Howard explains, “It’s important for me that everything be digitized so that current and future enthusiasts and scholars can explore, research, write about, and share the incredible experience of international circus culture. It’s such an important part of our history.” He then passionately expounds on the legacy of the circus and what it taught generations of people. “Back in the late 1800s and early 1900s, people outside of the big cities had few options for entertainment, but the circus brought the wonders of the world to their doorstep. Audiences had the opportunity to see things they had never seen before. They got to learn that just because someone was different from you, that didn’t mean they were evil or bad.”

As with the model, Howard is continually adding to his collection of circus memorabilia, which documents the development of the circus arts around the world. He is always searching for new artifacts, particularly photographs, which could enhance his knowledge as he continues to add preciselycrafted pieces to his model. His latest project is working on new railroad cars, analyzing and studying everything he can find from photographs to Pullman car blueprints. When considering the time and energy Howard puts into ensuring the accuracy of each new addition, Janice simply smiles and says, “He’s a perfectionist’s perfectionist.”