Demonstration of the replicated parrot-pattern handle pot effect

The vessel features a flared mouth, short neck, sloping shoulders, bulging body, and flared ring foot. The body of the vessel is hammered and shaped; the ring foot at the base and the inverted bowl-shaped foot at the bottom were welded on after completion. A narrow pad approximately 0.6 centimeters wide lies between the ring foot and the vessel’s body—a relatively rare feature. The lid is an inverted, flared-bowl type; its center is decorated with a treasure-flower motif, while the entire surface is adorned with grape, pomegranate, and honeysuckle vine patterns. The handle is designed in a diamond pattern, and the neck is embellished with alternating double- and four-petal hibiscus flowers. On the shoulder are symmetrical gourd-shaped vertical ears, seamlessly connected to semicircular handles that can move freely. The entire vessel is decorated in four distinct sections: centered around a parrot, surrounded by broken-branch floral motifs arranged in a circular pattern, adorning both sides of the vessel’s body; and centered around mandarin ducks, likewise encircled by broken-branch flowers forming a circular design, decorating the other two sides of the vessel. The remaining areas are filled with single, broken-branch floral motifs. The foot’s decoration mirrors that of the neck, featuring four-petal hibiscus-like blossoms, a fish-scale ground, and all circular motifs gilded in gold. The decorative patterns retain traces of chiseling, with spacing ranging from 0.1 to 0.15 centimeters; most of these marks appear along the edges of the designs, generally following the direction of the chiseled lines. Where the lines seem to break off, they likely correspond to areas carved away by the fish-scale pattern. Some marks are found within the designs themselves, lacking any obvious regularity—perhaps serving to demarcate different spatial zones. These tiny chiseled dots clearly served a purpose: they probably marked the initial sketch lines before the artisans began their detailed work. Yet during actual production, the artisans displayed a degree of spontaneity, not strictly adhering to the original sketches. Overall, the decorative layout adopts a modular approach, leaving ample blank space. The floral motifs depicting broken branches are large, lush, and abundant—a style that became popular after the mid-8th century. Within these floral motifs, each branch bears a flying parrot or mandarin duck. The parrot is depicted with remarkable realism, while the mandarin duck exhibits a highly artistic quality: its head is realistically rendered, its beak holds a broken flower branch, and its chest, abdomen, and tail are composed of three interconnected clusters of leaves, suggesting bird feet beneath the foliage. The wings are also formed by broken flower branches, spread as if ready to take flight—a vividly lifelike portrayal reflecting the Tang dynasty artisans’ rich artistic imagination and creativity. Parrot motifs were especially prevalent on gold and silver objects, lacquered woodware, bronze mirrors, textiles, and ceramics during the mid-to-late Tang period; this particular piece dates to around the mid-8th century. The popularity of parrot motifs was closely linked to the Tang dynasty’s prosperity, openness, and frequent foreign exchanges. Historical records frequently mention tributes of parrots sent to the imperial court. The exotic nature of these birds sparked the curiosity and imagination of the Tang people. As parrots could mimic human speech, they came to symbolize wisdom and became cherished pets, even serving as auspicious emblems. Given their status as precious objects, parrot motifs often appeared alongside other auspicious symbols such as mandarin ducks, herons, fish, butterflies, and wild geese—often paired together, carrying connotations of good fortune and completeness. Tang poetry frequently featured parrots, indicating their popularity among the aristocracy. Artifacts from Japan’s Shōsō-in repository further attest to the widespread acceptance of parrot motifs among the upper classes, thus fueling their popularity. Archaeological finds and collected artifacts reveal great variety in the shapes and uses of jar-like vessels. Among the gold and silver pieces unearthed from the Hejiacun cache, some have movable handles at the top, others come with three legs, some have lotus-petal bases at the bottom, and some are referred to as “pots” or “bottles.” Here, we collectively refer to vessels of jar-like shape as “jars.” The parrot-motif jar with handle closely resembles the jar held by the 28th figure in the stone-carved “Court Ladies” scene from the tomb of Li Shou of the Tang dynasty—though the jar in the “Court Ladies” scene has a less pronounced neck and a slightly higher ring foot. The original lid bore ink inscriptions reading “Purple Crystal Fifty Liang” and “White Crystal Twelve Liang.” Purple and white crystals were key ingredients used in the preparation of “Five-Stone Powder” or “Three-Stone Rejuvenation Powder,” indicating that this jar was intended for storing medicinal substances.