An Introduction to Chinese Art by Michael Sullivan

By Michael Sullivan

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It His head His hair became the important. This one man is its —and his fleas for it scheme of more than an afterthought, things; hardly and waterfalls, the trees flowers, the workings of the Tao, he counts for very in far smaller compass, in that of Britain humble devotion and response germs of what they think most expresses a typically Chinese viewpoint comparison with the beauty and splendour of the world and our ancestors. not the culminating achievement of the creation, but insignificant part in the the clouds this attitude kinder master than she to it, which little.

The t'ao-t'ieh symbol of regeneration two large in Chinese art. the upper zone while under the lip knobs for The vessel is lifting it off the fire is can give The 1 1) —in this case k'uei dragons. A ^ legs in the Freer as well as decorating the vessel two owls back-to-back, their feet forming the legs. wings are outlined on the body, the lei-wen combined with scale-like forms to sug- A gest feathers. dragon is curled on each foot, while above and below each wing long-tailed bird with protruding eye and bottle-shaped horn.

Appear to have existed simuluneously. decorated flanges shih, all over, its motifs divided to its elegance; or the decoration Mizuno may Sei-ichi, Bntifts tnd Jades ef Atuitnl China (1959), [46] ku libation by high serrated base, or, in the plainest examples, to the collar alone. * The vertical be confined to the The 8—9. ts'un — a fatter f B. Bronze ritual vessel of type li-ting. Ht. 19 cm. Shang Dynasry. British Museum. The Shang Dynasty and heavier relation to the hi — often treated in the same way.

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