雖然目前並無同時代的記錄來解釋商代銅器上裝飾的意義，但動物形象的裝飾圖案及動物形狀的銅器或玉器的出現，顯示了動物在商代工匠創作中的重要性。
商代的主要裝飾圖案是動物面具，後來文獻中稱之為「饕餮」，這一神秘的形象（在相鄰的展示中多次出現）無法確定為某一具體的動物，但似乎是由多種真實與想像中的生物組合而成，擁有兩顆明亮的眼睛、角、耳朵和獠牙。
在商代晚期（公元前14至11世紀），動物形狀的容器開始流行，這也許是對來自中國南方的動物形狀銅器的回應。這類器物很難被歸為什麼器形，英文的標題定為「Pigment Container」，一種顏料容器。
觥？
哈佛大學定為‘guang'，也就是觥。這類器物一直很難定性，參見一件萬孝臣收藏的鳥形器，他也在筆記中提到觥的定論。
這件重要的西周青銅鳥形蓋盒來自荷蘭著名中國青銅器收藏家萬孝臣（Williem van Heusden），他於 1952 年寫道：這件小器物似乎是獨一無二的，我不確定該如何歸類（可能是屬於「觥」？）。
材料： 鑄銅；在動物脖部背後鑄有銘文尺寸： 高 16.4 x 寬 14.3 x 深 19.8 cm（6 7/16 x 5 5/8 x 7 13/16 英寸）
重量： 1550.72 克銘文與標記： 銘文以表意字形鑄於動物脖部底部和容器圓形孔之間的平面方形表面上。
記錄的所有權歷史：溫斯洛普（Grenville L. Winthrop）, New York（1943年之前），遺贈；捐贈給 Fogg Art Museum, 1943年。
資金來源：哈佛藝術博物館/亞瑟·M·薩克勒博物館，Grenville L. Winthrop 遺贈收藏年： 1943年物品編號： 1943.52.97
商周時代弄器簡介
弄器是一個當下學者仍在探索的領域。目前所見的弄器都尺寸比較小，多為女性墓葬出，商周時代可能用於盛放液體或胭脂，這類容器常見於宗教祭祀或宴會中，具備高度的藝術性，且往往以動物形象為主要裝飾。這些器物不僅在形式上具象徵意義，還體現了當時對自然世界的理解及對神靈的崇敬。
商代的弄器在造型上呈現出許多動物特徵，像是龍、虎、鳥等，這些動物形狀的容器表現了人與自然界的關聯，也可能與當時的神話或宗教儀式有關。這些動物形狀的容器多由高超的鑄造技術製成，經常搭配複雜的銘文和精緻的裝飾，呈現出深厚的文化意涵。
其中，龍、虎、鳥、人形容器等尤為著名，這些容器不僅是實用器物，也被認為是權力和神聖的象徵。在商周時期的社會結構中，這類裝飾性強、造型奇特的器物多屬於貴族或王室所擁有，代表著其主人的地位和神聖性。
弄器研究
這類器物可能屬於「弄器」，弗里爾博物館藏有春秋時期山西侯馬地區的鳥尊，銘文“子之弄鳥”，是目前公認的弄器之一。另外，「弄器」的概念是什麼，目前還在探討之中。故宮博物院認為，弄器，主要是不好歸類的銅器類型；另外，故宮博物院的報告也提到，出土紀錄中，弄器多為女性墓葬。
故宮也有“君子之弄鬲”：
另外，山西地區也有可歸為「弄器」的作品：
有觀點認為雖然這些器物出土地不同，其中放置實物也不同，但仍存在較多共性：它們體積較小，鑄造工藝較為複雜，大多出土於西周晚期至春秋早期的高等級女性墓葬中。這些細節體現出古代喪葬制度的沿革。
Shang Dynasty 'Nongqi' Vessel
Possibly a 'Gong / Guang'
Harvard University Art Museum
Although there are no contemporaneous records explaining the meaning of the decorations on Shang bronzes, the preponderance of zoomorphic motifs and the emergence of animal-shaped vessels made of bronze or jade are clear indications of the importance of animals in the repertoire of Shang artisans.
The principle Shang motif was the animal mask, referred to in later texts as a taotie. This enigmatic image (seen repeatedly on vessels in the adjacent cases) is not identifiable as any one beast but appears to be a composite of creatures both real and imagined, with two stark eyes, horns, ears, and fangs. During the late Shang period (14th–11th century BCE), animal-shaped vessels began to be cast, perhaps in response to zoomorphic bronzes introduced from southern China.
The guang wine vessel displayed here is a magnificent example — it cleverly incorporates a tiger at the front of the vessel and an owl at the back handle; the animals’ heads are represented on the lid and their more subtly rendered bodies are on the vessel.
Medium
Cast bronze; with an inscription cast behind the animal's neck
Dimensions
H. 16.4 x W. 14.3 x D. 19.8 cm (6 7/16 x 5 5/8 x 7 13/16 in.)
Weight 1550.72 g
Inscriptions and Marks
inscription: ideographs integrally cast on flat, square surface between the base of the animal's neck and the container's circular perforation
Recorded Ownership History
Grenville L. Winthrop, New York (by 1943), bequest; to Fogg Art Museum, 1943.
Credit Line
Harvard Art Museums/Arthur M. Sackler Museum, Bequest of Grenville L. Winthrop
Accession Year
1943
Object Number
1943.52.97
Shang Dynasty Bronze Containers:
An Exploration of Function and Symbolism
The study of bronze ‘Nongqi’ containers from the Shang and Zhou Dynasty remains an active area of research. These artifacts, often found in female tombs, are typically small in size and are believed to have been used for holding liquids or cosmetics. They frequently appear in religious rituals or feasts, showcasing high artistic value and often featuring animal motifs as primary decorations. These vessels not only carry symbolic meanings but also reflect the era's understanding of the natural world and reverence for deities.
Shang Dynasty ‘Nongqi’ bronze containers often exhibit various animal features, such as dragons, tigers, and birds. These animal-shaped vessels represent the connection between humans and the natural world and may be related to the myths or religious ceremonies of the time. Crafted using advanced casting techniques, these containers are frequently adorned with intricate inscriptions and decorations, embodying profound cultural significance.
Notably, dragon, tiger, bird, and human-shaped containers are especially renowned. These vessels were not only practical items but also symbols of power and sanctity. In the social structure of the Shang and Zhou periods, such decorative and uniquely shaped artifacts were typically owned by nobility or royalty, representing their status and sacredness.
The Shang Dynasty (c. 1600–1046 BCE) was a period of significant cultural and technological advancement in ancient China. Bronze casting reached its peak during this era, with artisans creating intricate and large-scale vessels used in various ceremonies and rituals. The use of animal motifs in these bronzes reflects the Shang people's deep connection with nature and their belief in the spiritual significance of animals. These artifacts provide valuable insights into the religious practices, social hierarchy, and artistic achievements of the Shang civilization.
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