Produced during the late Yayoi period, the distinctive clapperless Japanese bronze bells known as dōtaku are thought to derive from earlier, smaller Korean examples that adorned horses and other domesticated animals. Dōtaku were buried, singly, in pairs, and in large groups—occasionally with bronze mirrors and weapons—in isolated locations, often on hilltops, perhaps to ensure a community’s agricultural fertility. Later dōtaku had relatively thin walls and would not have resonated, so it assumed their purpose was primarily ritual.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Side 1 of 2
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
銅鐸
Title:Dōtaku (Bronze Bell)
Period:Yayoi period (ca. 300 BCE–300 CE)
Date:1st–2nd century
Culture:Japan
Medium:Bronze
Dimensions:H. 43 1/2 in. (110.5 cm)
Classification:Metalwork
Credit Line:Rogers Fund, 1918
Object Number:18.68
In striking contrast to Jōmon pottery, Yayoi vessels have clean, functional shapes. Nonetheless, the technical process of pottery-making remained essentially the same, and in all likelihood women using the coil method rather than the potter's wheel continued to be the primary producers. Two technical differences, however, are significant: the fine clay surfaces of Yayoi vessels were carefully smoothed, and clay slip was sometimes applied over the body to make it less porous.
Many Yayoi vessels resemble pots found in Korea, and some scholars have proposed that the Yayoi style originated in that land, arriving first in northern Kyūshū and gradually spreading northeast. Nevertheless, some pieces clearly show the influence of Jōmon ceramics, leading others to speculate that Yayoi wares were the product of an indigenous evolution from the less elaborate Jōmon wares of northern Kyūshū.[1] A compromise view is that the indigenous pottery tradition was modified by an influx of new technology from the continent in the last years of the Late Jōmon Phase.[2]
Although recent excavations in South Korea and Japan have brought to light an enormous amount of data concerning Yayoi vessels, there is still much to be learned. It is clear that new pottery shapes, which were functional as well as elegant and refined, spread across the archipelago, with the exception of Hokkaidō in the north and Okinawa in the south, and a variety of regional styles evolved. The most extensively decorated Yayoi vessels were produced in areas where the most elaborate Jōmon wares had been made, suggesting the lingering influence of the earlier pottery tradition. Nevertheless, the decorations are relatively scant, consisting primarily of grooves and hatched lines. In some cases simple designs of houses, animals, fish, and humans are scratched into the shoulders. Some Yayoi vessels with tall stems recall pieces from the Longshan culture of China (2500–1700 B.C.), while others have the perforated base characteristic of Korean pottery in the Three Kingdoms period (57 B.C.–A.D. 668).
Yayoi wares were fired at a higher temperature than Jōmon pottery, some parts polished to a high sheen and painted before firing. Although most Yayoi pots were intended for utilitarian purposes, some were apparently made for ritual use. The most unusual bronze object produced during this period was the dōtaku, a bell with a tubular body surmounted by a large handle that extends as a decorative flange along the sides of the body (fig. 7). The most common designs are hatched lines, triangles, spirals, and geometric patterns. Simple representations of domesticated animals, as well as scenes of fishing, harvesting, hunting, and fighting—all familiar activities in the lives of the ancient Japanese—also appear. Religious or ritual ceremonies do not seem to have been depicted. The continental prototype of the dōtaku has yet to be discovered.
[Miyeko Murase 2000, Bridge of Dreams]
[1] Kuraku Yoshiyuki 1979, p. 6; Harunari Hideji 1990; and Tsuboi Kiyotari 1990, p. 86. [2] Kinoshita Masashi 1982, p. 20.
[ Yamanaka & Co. , New York, until 1918; sold to MMA].
New York. The Metropolitan Museum of Art. "Art in Early Japan," 1999–2000.
New York. The Metropolitan Museum of Art. "Blossoms of Many Colors: A Selection from the Permanent Collection of Japanese Art," March 21–August 9, 2000.
New York. The Metropolitan Museum of Art. "The Year One: Art of the Ancient World East and West," October 3, 2000–January 14, 2001.
New York. The Metropolitan Museum of Art. "Graceful Gestures: A Decade of Collecting Japanese Art," September 29, 2001–March 10, 2002.
New York. The Metropolitan Museum of Art. "A Sense of Place: Landscape in Japanese Art," May 8–September 8, 2002.
New York. The Metropolitan Museum of Art. "Birds, Flowers, and Buddhist Paradise Imagery in Japanese Art," February 14–June 13, 2004.
New York. The Metropolitan Museum of Art. "Tribute to a Dedicated Collector: Mary Griggs Burke," June 30–November 29, 2004.
New York. The Metropolitan Museum of Art. "Masterpieces from the Permanent Collection," July 2–November 29, 2005.
New York. The Metropolitan Museum of Art. "A Sensitivity to the Seasons: Spring and Summer," December 17, 2005–June 4, 2006.
New York. The Metropolitan Museum of Art. "A Sensitivity to the Seasons: Autumn and Winter," June 22–September 10, 2006.
New York. The Metropolitan Museum of Art. "Flowing Streams: Scenes from Japanese Arts and Life," December 21, 2006–June 3, 2007.
New York. The Metropolitan Museum of Art. "Graceful Gestures: Two Decades of Collecting Japanese Art," 2007.
New York. The Metropolitan Museum of Art. "A Drama of Eyes and Hands: Sharaku's Portraits of Kabuki Actors," September 20, 2007–March 24, 2008.
New York. The Metropolitan Museum of Art. "No Ordinary Mortals: The Human Figure in Japanese Art," 2007–2008.
New York. The Metropolitan Museum of Art. "Ukiyo-e Artists' Responses to Romantic Legends of Two Brothers: Narihira and Yukihira," March 27–June 8, 2008.
New York. The Metropolitan Museum of Art. "Animals, Birds, Insects, and Marine Life in Japanese Art," June 26–November 30, 2008.
New York. The Metropolitan Museum of Art. "Arts of Japan Galleries," February 2–July 28, 2013.
New York. The Metropolitan Museum of Art. "Arts of Japan," August 17, 2013–January 12, 2014.
Elizabeth J. Milleker, ed. The Year One: Art of the Ancient World East and West. Exh. cat. New York: The Metropolitan Museum of Art, 2000, pp. 174–75, fig. 124.
J. Kenneth Moore, Bradley Strauchen-Scherer, and Jayson Kerr Dobney. Musical Instruments: Highlights of the Metropolitan Museum of Art. First Printing ed., New York: The Metropolitan Museum of Art, 2015.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Met's collection of Asian art—more than 35,000 objects, ranging in date from the third millennium B.C. to the twenty-first century—is one of the largest and most comprehensive in the world.
