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From the prehistoric period, due to its luminous translucency and tough quality, jade was deemed precious. Hence, in China it had a sacrosanct position and was predominantly carved for decorative and ritual purposes, rather than for utilitarian uses. Among the Chinese jade cultures in the Neolithic period, the Hongshan culture, located in an extensive area ranging from Inner Mongolia to western Liaoning province, marked the heyday. This northeastern Neolithic culture with distinctive features in jade craft gave birth to coiled dragons. Before being transmitted to the Shang period, the coiled dragon was exclusive to the Hongshan culture. Made for ceremonial purposes, the coiled dragons also had links to the cult of fertility because of its fetal posture. The suspension hole in coiled dragons also suggests their ornamental usage.
Coiled dragons, as their name indicates, have a tapering coiled tail that abuts the jaw of the dragon. There are consistent and abundant evidence of the Hongshan coiled dragons with looped tails that create a short, thick body curl (Figures. 1, 2, and 3). Such a trait creates an oval shape rather than a circular one, hence an asymmetrical profile. While an acuminating coiled tail of Object B makes the whole shape oval, Object A has a blunt round shape, especially in the lower part because its tail does not curl in. Moreover, because of jade’s toughness, tools and abrasive sand used during the Neolithic period wear out while carving, which makes it impossible to ground a straight slit that Object A has. While making a slit, possibly using a slender tool like a leather strap, the adjoining part also becomes abraded, making it difficult, if not impossible, to ground a straight cut. However, unlike...
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...vation and Transformation in the Arts, edited by Sherman E. Lee, 55-68. New York: Harry N Abrams, 1998.
Fang, Jianneng. 史前琢玉工艺技术shi qian zhuo yu gong yi ji shu. Taipei: National Taiwan Musuem, 2003.
“Jade coiled dragon”. British Museum. Accessed March 12, 2014, from https://www.britishmuseum.org/explore/highlights/highlight_objects/asia/j/jade_coiled_dragon.aspx
Li, Xiangyun. Xiangyun Xuan Guyu Shoucang Yu Yanjiu (Xiangyun Xuan Antique Jade Collection and Research). Beijing: Wenwu, 2004.
Rawson, Jessica. Chinese Jade from the Neolithic to the Qing. London: The British Museum Press, 1995.
Yang Yang. “The Chinese Jade Culture.” In Mysteries of Ancient China: New Discoveries from the Early Dynasties, edited by Jessica Rawson. New York: George Braziller, 1996.
Zhejiang sheng wenwu kaogu yanjiu suo et al., ed. Liangzhu wenhua yuqi. Beijing: Wenwu chubanshe, 1990.
The Shang Dynasty invented and, over the years, perfected the technique of casting a bronze vessel from a clay mold assembly, which this wine vessel has also been made from using those techniques (Cantor). This mold was formed around a model of the vessel and was then cut into sections that were carved or impressed in the desired design, in this case the braided or grid design, on the inner or outer surfaces. The decorated clay piece-mold was then fired and reassembled around a clay core. Small bronze spacers were used to hold the piece-mold and the clay core apart. Then, molten bronze was poured into the mold. Using this piece-mold casting technique helped the bronze worker to achieve greater sharpness and definition in any intricate design
Hayley Ryan Anthropology 215 Archaeological Book Analysis February 7th, 2017 Bridge of Birds There is a great art that can be found in being able to describe the world of an ancient civilization. Especially in one where large man made walls form because of the creases of a sleeping dragon’s back, or that the layout of the fields and streams of a small village create the image of a galloping unicorn when looked from up above. Yet, this is Imperial China, or as Barry Hughhart writes in his Novel Bridge of Birds, “an Ancient China that Never Was” (Hughhart 1984). This novel explores the history and the world of Ancient China, and the tales of the people who have walked across the land.
The First Emperor’s Army: An Important Chinese Find. Archaeology. Volume 28, No. 4 (pp. 267-269)
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
Chinese culture has been evolving for more than one thousand years with one of the most significant influences being the development of the Han dynasty. This paper analyses the ways in which the development of the Han dynasty influenced Chinese culture, to what extent, and why. Knowledge of the Han period’s impact on Chinese culture, is obtained through the analysis of written and archaeological sources depicting the Western Han dynasty (206 B.C.–9 A.D) and Eastern Han dynasty (25–220 A.D).
Edward L. Dreyer. Zheng He: China and the Oceans in the Early Ming Dynasty, 1405-1433.
Cao Xueqin’s Story of the Stone is a classic in Chinese literature, showcasing the life and exploits of the wealthy Jia clan during the feudal era. Through Cao’s depiction, the reader is afforded a glimpse into the customs and lifestyle of the time. Chinese mode of thought is depicted as it occurred in daily life, with the coexisting beliefs of Confucianism and Taoism. While the positive aspects of both ideologies are presented, Cao ultimately depicts Taoism as the paramount, essential system of belief that guides the character Bao-yu to his eventual enlightenment.
Qian, Sima. Records of the Grand Historian, Volume 55, House of the Marquis of Liu.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
Chang, Kwang-chih 1968 The Archeology of Ancient China Yale University Press, New Haven & London
The Upper Paleolithic Era occurred about 50,000 years ago and lasted nearly one-tenth of the more widely known Stone Age Era(Guisepi). During this time, Homo Sapiens were leaving the Middle Paleolithic Era, where advancements such as; points, arrows, darts, as well as other projectile tools originated, for the Upper Paleolithic Era. It is important to point out that during the Middle Paleolithic Era, the Homo Sapiens made large advancements in, “ the application of ‘prepared core technique.’” In this process, “a core was carefully flaked on one side so that for a flake of predetermined size and shape could be produced in a single blow(Middle)” By using this technique they gained knowledge of how to cre...
Dictionary of the Arts. Ed. Chris Murray. New York: Facts on File, 1994. 42. Print.
Lin Jiayou, Xin Hai Ge Ming Yu Zhong Hua Min Zu De Jue Xing (Guangzhou, Guangdong _____Ren Min Chu Ban She, 2011), pp. 498-515
Shi Changyu (1999). "Introduction." in trans. W.J.F. Jenner, Journey to the West, volume 1. Seventh Edition. Beijing: Foreign Languages Press. pp. 1–22.
The Artifacts that have been found in The Shang Tomb such as the disc, the chariot etc. it represented a strong government. Obviously, if you were buried with the vessels you were very high in power. The Vessels were often given to thank military officials, or people that were high in power and had done something very good for the emperor. These were very rare.