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By Michael Sullivan

This publication preserves the continual narrative framework of the authors previous creation to chinese language paintings. just a commonly ancient procedure, he feels, one that combines vertical continuity down the a long time with horizontal wholeness throughout every one interval, enables the reader, might be coming near near chinese language artwork for the 1st time, to get a glimpse of the full trend. yet whereas the form of the publication is still unchanged the textual content has been broadly revised and re-written to maintain it so far as attainable abreast of contemporary discoveries and learn, and plenty of of the illustrations are new. structure, sculpture, portray and calligraphy, bronzes, ceramics and the ornamental arts are all mentioned and on the topic of each other and to the evolving development of chinese language proposal and social existence.

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They is a close figures and are carved four-square out of the block, rigidly frontal, and have something of the formality and compactness of Egyptian derives from their solid, monumental art. Their impressiveness feeling of weight, and firom the engraved geometric and zoomorphic designs which play over their surface, rather than from the tension over the surface itself which enlivens Egyptian sculpture. While we still had only the evidence of Anyang before seemed that the Bronze Age appeared with Chinese history, and that there was between it startling little us, it suddenness in visible connection and Late Neolithic culture.

Certain types of Neolithic pottery of the grey family can Dynasty, where we see them now be existing side 47 traced into the Shang by side with the same THE SHANG DYNASTY shapes in bronze, and we can observe form becomes inelegant We object of beauty. how an originally coarse and hands of the metal-worker an in the have already encountered the Neolithic pottery, while finds at Chengchow li tripod in reveal the ceramic origin of several other vessels previously thought to be pectdiar to bronze — notably the kuei, a bowl on a high foot-rim, but lacking the prominent handles found on the bronze kuei.

It was fine grey clay made on the wheel of burnished black, sometimes being composed of three Many to five layers laminated together. of the shapes are elegant and somewhat metallic while the decoration, consisting chiefly of ; raised bands, grooves made and milled look. Several of the dish, beaker and dish on rings, gives it a rather machine- Lung-shan shapes, notably the wide a tall stem (Plate ib) resemble vessels in use from one to two thousand years earlier in Western Asian sites such as Tepe Hissar, Anau and Susa while ; in East Asia it has been found in a huge arc stretching from Northeast China down to Thailand and northern Malaya.

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A Short History of Chinese Art by Michael Sullivan


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