At first glance, it resembles a miniature brazier set: a square base with an openwork body where embers could be placed to generate heat, and above it a shallow handled pan where something might be cooked or warmed. Measuring only 11.6 × 10.1 × 25.4 cm, it was unlikely to have been used for cooking full meals. Some scholars once argued that these were wine warmers, a tempting idea given the long cultural tradition of heated wine in China, but the small scale again raises doubts.
Most known examples of this vessel type have been unearthed from Han dynasty tombs (206 BCE–220 CE) across China, typically high-status burials of aristocrats and wealthy elites. A few bear the inscriptions of the character 染 (ran), and so they are often referred to as ran qi (ran vessels) or ran lu (ran stoves/braziers). The character 染 is most commonly associated with “to dye,” and therefore some early scholars proposed that these were small dyeing vessels used in household workshops. The vessel’s diminutive size, however, makes this explanation improbable. More tellingly, such bronzes are frequently unearthed together with food-related wares, suggesting their function was linked to dining.
A more persuasive interpretation came from Japanese archaeologist Hayashi Minao (1925-2006), who drew on the ancient Chinese text Lüshi Chunqiu 《吕氏春秋》and argued that 染 in this context referred not to dye but to sauce for meat. This interpretation has gained wide acceptance, supported by historical texts that highlight the importance of sauces at Han banquets, where richly seasoned dips accompanied roasted meats. In this view, hot coals in the base gently warmed sauces held in the pan above, keeping flavors fragrant and inviting throughout the meal. A modern analogy might be to think of it as a miniature hot pot in Chinese dining or a fondue set in Swiss tradition.
The small scale of this vessel also reflects the individual dining customs in the Han dynasty. Unlike the familiar modern Chinese practice of sharing dishes communally, Han dynasty banquets often emphasized individual portions, with each guest provided a personal set of utensils and vessels.
What makes this AGGV piece particularly distinctive is its incorporation of the four mythical creatures, known as the Four Symbols, into its openwork design: the Azure Dragon of the East, the White Tiger of the West, the Vermilion Bird of the South, and the Black Tortoise (or Black Warriors) of the North. These mythical creatures embodied a cosmic order linking heaven, earth, and human society. Their presence on a dining vessel suggests and enduring pursuit of universal harmony.
Equally striking are the four human-figure legs supporting the brazier. Shown in crouching, kneeling postures, the figures provide excellent stability as functional supports. Their arched backs form broad surfaces to bear the vessel’s weight, while their height allows just enough space beneath for charcoal and airflow. The figures resemble slaves or non-Chinese peoples, cast as literal bearers of the vessel. They offered a vivid metaphor of domination and hierarchy, a miniature display of power forged into bronze.
Comparable examples are preserved in the National Palace Museum in Taipei, and the Art Institute of Chicago. The Metropolitan Museum of Art also holds a closely related piece, though missing its shallow pan.
We invite you to visit the AGGV to see this extraordinary vessel in person and discover how even the smallest objects can hold the largest stories.
– Written by Dr. Heng Wu, AGGV Asian Art Curator
You can view this Brazier Set in the the Roger Lee Gallery of Asian Art as part of the exhibition, A View From Here: Reimagining the AGGV Collections.
LEARN MORE
Feature Image: Brazier Set with the Four Symbols, bronze. Gift of Mr. & Mrs. Joey and Toby Tanenbaum, AGGV2007.005.508 a,b. Courtesy of the AGGV.
