Lotus-Crane Square Pot
The Lotus-crane Square Pot is an important artifact from the Spring and Autumn Period (770-476 B.C.). It is a giant wine vessel measuring 122 centimeters in height, 54 centimeters in width, and
64 kilograms in weight. Two pieces were unearthed in 1923 in Xinzheng, today's Henan Province, which are housed in the Palace Museum and Henan Museum, respectively.
The square pot consists of a lid and body and involves a variety of decorative methods such as relief, round sculpture, and fine sculpture. The cover is embellished with two-tiered lotus petals, with a lifelike crane in the center.
The vessel is decorated with dragons of various forms. The belly is adorned with dragon patterns, and each of the four corners has an attached flying dragon. A dragon-shaped handle adorns each side, and dragon patterns fully cover the belly. The vessel is supported by two powerful beasts with curling tails at the bottom.
During the Spring and Autumn Period, Chinese bronze casting innovated the "lost-wax method", and the "separated casting method" became popular.
The lost-wax method is a process using wax and clay molds to cast bronze wares. At high temperatures, the wax is melted and drained away, and then molten metal is injected into the hollowed mold, thus producing complex and exquisite wares that cannot be cast with clay molds alone.
The separated casting method refers to a process in which different parts of an artifact are cast separately and then pieced together. The ears and feet of the lotus-crane square pot and the standing crane on the lid were cast separately and then attached to the body.
The Lotus-crane Square Pot features skillful design, exquisite craftsmanship, and an elegant, vivid shape, which sharply contrast the solemn and sedate style of bronze wares of the Shang (c. 1600-1046 B.C.) and Zhou (1046-256 B.C.) dynasties. It represents the new style of bronze art of the Spring and Autumn Period.
莲鹤方壶
莲鹤方壶是春秋时期重器，高122厘米，宽54厘米，重64千克，形体巨大，是用来盛酒的容器。1923年出土于河南新郑，共两件，分别藏于故宫博物院、河南博物院。
方壶由壶盖、壶身组成，运用圆雕、浅浮雕、细刻等多种装饰手法。壶盖装饰双层镂雕莲瓣，中心为灵动欲飞的仙鹤。壶身装饰各种不同形式的龙，腹部饰蟠龙，四角铸飞龙，双耳也为龙。底部由两只卷尾兽承托，稳健有力。
春秋时期，中国青铜器铸造创新“失蜡法”，发扬“分铸法”。“失蜡法”，即以蜡制范配合泥质内、外范制器，高温下蜡熔化流出，浇筑铜液器物成型，可以制作出泥模无法铸造的复杂、精细的器件。“分铸法”则是分别铸造器物各部分，再铸接起来的制作工艺。莲鹤方壶的耳、足和盖上的立鹤即分铸而成，再与壶身铸接于一体。
莲鹤方壶设计奇巧、技艺卓绝，其优美、灵动的造型，与商周青铜器的庄重厚实形成鲜明对比，代表了春秋时期青铜艺术的崭新风格。
