The metropolitan museum in Network city is the world's finest art museums (Eberhard, 74).

Ancient Chinese Art
The metropolitan museum in Network city is the world’s finest art museums (Eberhard, 74). The museum is home to millions of works of art from several cultures across the globe as old as five thousand years from prehistory. During my visit, I came across the Tripod Cauldron (ding) at Met Fifth Avenue of the metropolitan museum. This paper will describe the details of Tripod Cauldron (ding) that I discovered in my forty-five-minute observation. It shall also share the experience and surprising discoveries made and the critical questions that will be answered in by research.
The Tripod Cauldron (ding) is an ancient Chinese vessel that made of tarnished bronze metalwork crafted in the period of the Shang dynasty 1600–1046 B.C of the 13th and 12th century. The Tripod Cauldron (ding) is a swelling bowl that is complemented by two large handles and balances on a three columnar oddly-proportioned legged base. The vessel has two facing handles. On its exterior surface is decorative frieze that covers the bowl surface. It features a décor of two-eyed motifs. This motif has of protruding half spheres with narrow but details snouts. The taotie faces appear on the cauldron portion of the vessels. Its design consists of a zoomorphic imagery that is bilaterally symmetrical with the pair of raised eyes and lower jaw area. The typical decoration of the ding-tripod’s abdomen accurately placed on the ding-tripod with a balanced orientation of loop handles. There is a space between the loop handles which is considered the front piece. The lower section of the ding separates at the crotch. The upper is design with three identical sets around the abdomen.
While slowly looking, I observed unique shape patterns of the decorations with very distinctive features. The Bronze tripod cauldron fascinated me with the stately forms of thriving craft work. There is miniatures decoration made from delicate materials and objects of the ancient Chinese origin. The decorative frieze covering the bowl surface featuring a décor of two-eyed motifs implies veneration and possesses a sense of grandeur. The decorations on Tripod Cauldron (ding) led me to conclude that indeed, there must have been a significant art in consideration in the Shang dynasty.
The most intriguing discovery I learned about the Tripod Cauldron (ding) while looking at it, is the décor of eyed motifs. The highly detailed, mask-like faces of snouts, appearing on the cauldron portion are quite unique (Watt, 11).
In my research, I will try to answer what work the Tripod Cauldron (ding) as a Chinese cauldron was used. I will also be seeking to understand why the Tripod Cauldron (ding) is specially made from bronze and not clay or ceramic and metals. I will even try to find out the number of the permitted ding in the entire nobility of the Chinese (Loehr, 124).
In the Research on the Orientation of Decoration on Bronzes, Hongbin, indicates that the Tripod Cauldron (ding) has an ownership history indicates that it belonged to Eskenazi Ltd found in London, until 2001 when the vessel was sold to the metropolitan museum in Network city (Hongbin 24). The Twittering Machine by Klee, indicates that the Tripod Cauldron (ding) was featured at an exhibition in the Metropolitan Museum of Art in New York City on September 2001. In addition, the Graceful Gestures exhibition of Japanese Art also feature it in March 2002. It final exhibited in the “Arts of Ancient China,” 2005 of The Metropolitan Museum of Art.

Works Cited
Eberhard, Wolfram, and Phyllis Ackerman. “Ritual Bronzes of Ancient China.” Artibus Asia, vol. 10, no. 1, 1947, p. 74-80.
Hongbin, Yue. “Research on the Orientation of Decoration on Bronzes from Yinxu.” Chinese Archaeology, vol. 3, no. 1, Jan. 2011, p23-37.
Loehr, Max. The bronze styles of the Anyang period: (1300-1028 B.C.). Chinese Art Society of America, 1953, p. 124-126.
Watt, James C. Y. “The Arts of Ancient China.” The Metropolitan Museum of Art Bulletin, vol. 48, no. 1, 1990, p. 11.