Ding (vessel) in the context of "Chinese nobility"

Chinese bronze inscriptions, also referred to as bronze script or bronzeware script, comprise Chinese writing made in several styles on ritual bronzes mainly during the Late Shang dynasty (c. 1250 – c. 1046 BC) and Western Zhou dynasty (c. 1046 – 771 BC). Types of bronzes include zhong bells and ding tripodal cauldrons. Early inscriptions were almost always made with a stylus into a clay mold, from which the bronze itself was then cast. Additional inscriptions were often later engraved onto bronzes after casting. The bronze inscriptions are one of the earliest scripts in the Chinese family of scripts, preceded by the oracle bone script.

Neidan, or internal alchemy (traditional Chinese: 內丹術; simplified Chinese: 內丹术; pinyin: nèidān shù), is an array of esoteric doctrines and physical, mental, and spiritual practices that Taoist initiates use to prolong life and create an immortal spiritual body that would survive after death. Also known as Jindan (金丹 "golden elixir"), inner alchemy combines theories derived from external alchemy (waidan 外丹), correlative cosmology (including the Five Phases), the emblems of the Yijing, and medical theory, with techniques of Taoist meditation, daoyin gymnastics, and sexual hygiene.

In neidan, the human body becomes a cauldron (or "ding") in which the Three Treasures of Jing ("Essence"), Qi ("Breath") and Shen ("Spirit") are cultivated for the purpose of improving physical, emotional and mental health, and ultimately returning to the primordial unity of the Tao, i.e., attaining Taoist Immortality. It is believed the Xiuzhen Tu is such a cultivation map. In China, it is an important form of practice for most schools of Taoism.

Bronze is the most popular metal for cast metal sculptures; a cast bronze sculpture is often called simply "a bronze". It can be used for statues, singly or in groups, reliefs, and small statuettes and figurines, as well as bronze elements to be fitted to other objects such as furniture. It is often gilded to give gilt-bronze or ormolu.

Common bronze alloys have the unusual and desirable property of expanding slightly just before they set, thus filling the finest details of a mould. Then, as the bronze cools, it shrinks a little, making it easier to separate from the mould. Their strength and ductility (lack of brittleness) is an advantage when figures in action poses are to be created, especially when compared to various ceramic or stone materials (such as marble sculpture). These qualities allow the creation of extended figures, as in Jeté, or figures that have small cross sections in their support, such as the equestrian statue of Richard the Lionheart.

The taotie is an ancient Chinese mythological creature that was commonly emblazoned on bronze and other artifacts during the 1st millennium BCE. Taotie are one of the Four Perils in Chinese classics like the Classic of Mountains and Seas, alongside the Hundun, Qiongqi, and Taowu.

The Taotie is often represented as a motif on dings, which are Chinese ritual bronze vessels from the Shang (c. 1600 – c. 1050 BCE) and Zhou dynasties (c. 1046 – 256 BCE). The design typically consists of a zoomorphic mask, described as being frontal, bilaterally symmetrical, with a pair of raised eyes and typically no lower jaw area. Some argue that the design can be traced back to jade pieces found at Neolithic sites belonging to the Liangzhu culture (3310–2250 BCE). There are notable similarities with the jades of the Shijiahe culture (2500-2000 BCE) and the painted pottery of the Lower Xiajiadian culture (2200–1600 BCE).

The Da He ding or Da He fangding (Chinese: 大禾方鼎; pinyin: Dà Hé fāngdǐng) is an ancient Chinese bronze rectangular ding vessel from the late Shang dynasty (c. 1600–1046 BC). Unearthed in Tanheli, Ningxiang, Hunan in 1959, it is on display in the Hunan Museum. Uniquely decorated with a high-relief human face on each of its four sides, it is the only known ancient Chinese bronze cauldron to use human faces as decoration.

The Nine Tripod Cauldrons (Chinese: 九鼎; pinyin: Jiǔ Dǐng) were a collection of ding in ancient China that were viewed as symbols of the authority given to the ruler by the Mandate of Heaven. According to its origin narrative, they were cast by Yu the Great of the Xia dynasty.

At the time of the Shang dynasty during the 2nd millennium BCE, the tripod cauldrons came to symbolize the power and authority of the ruling dynasty with strict regulations imposed as to their use. Members of the scholarly gentry class were permitted to use one or three cauldrons; the ministers of state (大夫, dàfū) five; the vassal lords seven; and only the sovereign Son of Heaven was entitled to use nine. The use of the nine tripod cauldrons to offer ritual sacrifices to the ancestors from heaven and earth was a major ceremonial occasion so that by natural progression the ding came to symbolize national political power and later to be regarded as a National Treasure. Sources state that two years after the fall of the Zhou dynasty at the hands of what would become the Qin dynasty the nine tripod cauldrons were taken from the Zhou royal palace and moved westward to the Qin capital at Xianyang. However, by the time Qin Shi Huang had eliminated the other six Warring States to become the first emperor of China in 221 BCE, the whereabouts of the nine tripod cauldrons were unknown. Sima Qian records in his Records of the Grand Historian that they were lost in the Si River to where Qin Shi Huang later dispatched a thousand men to search for the cauldrons to no avail.