Early Chinese Art: Difference between revisions

(29 intermediate revisions by the same user not shown)

Line 60:

=====Time in Early Chinese Art=====

[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch10 by Eugene Y. Wang 9/10/15 WILEY.~~OnlineLibrary~~]

[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch10 by Eugene Y. Wang 9/10/15 WILEY.Online Library]

The Chinese notion of time has mostly been treated as an abstraction extrapolated from various early texts, leading some scholars to make some assertions about the kind of time concept that dominates Chinese thinking. In an illustrated silk manuscript uncovered from a basket case from a tomb at Zidanku, Changsha, ca. 300 BCE, the design is essentially a calendric chronograph. Manipulation of time remains a key function of early Chinese art.

=====The Yuan Lacuna: The ‘David’ vases and UK collectors of early Chinese blue-and-white porcelain in the early 20th century=====

[https://www.sciencedirect.com/science/article/pii/S3050997125000077 by Sarah Wong 6/25 ScienceDirect]

In 1929, R. L. Hobson (1872–1941), Keeper of Oriental Antiquities at the British Museum, was the first to publish and formally acknowledge the significance of the pair of Yuan blue-and-white temple vases, now known as the David vases. It was the first time in the United Kingdom that this type of blue-and-white porcelain was firmly established as being made in the Yuan dynasty (1271–1368).

=====Poetry and Pictorial Expression in Chinese Painting=====

[https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118885215.ch24 by Susan Bush 9/10/15 WILEY]

This chapter focuses on certain early Chinese paintings and the links between poetry and painting that extended over a period of nearly a millennium from the early medieval period through the Song dynasty. Two artists, Gu Kaizhi and Guo Xi, can serve as exemplary models for the development of Six Dynasties portraiture and Northern Song landscape, respectively, and their lives and art are discussed in the first two sections of the chapter.

=====Glassmaking of the Qing Dynasty: A Review, New Data, and New Insights=====

[https://www.sciencedirect.com/science/article/pii/S2667136020300030 by Hongjiao Ma 12/20 ScienceDirect]

Ancient glassmaking has always been a very obscure area of study in China, because glass was a relatively non-essential material, used for decorative and ritual purposes, and was not commonly accessible to Chinese people until the early twentieth century. The lack of glass technology has even been given as an answer to the famous “Needham question”: Why did modern science not develop in Chinese civilization (Martin and MacFarlane 2011).

=====Time in Early Chinese Art=====

[https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118885215.ch10 by Eugene Y. Wang 9/10/15 WILEY]

The Chinese notion of time has mostly been treated as an abstraction extrapolated from various early texts, leading some scholars to make some assertions about the kind of time concept that dominates Chinese thinking. In an illustrated silk manuscript uncovered from a basket case from a tomb at Zidanku, Changsha, ca. 300 BCE, the design is essentially a calendric chronograph. Manipulation of time remains a key function of early Chinese art.

=====A miniature world: Revealing warring states period shell paintings from zhongshan state by multiple-methods=====

[https://www.sciencedirect.com/science/article/abs/pii/S1296207424000918 by Dian Chen 2024 ScienceDirect]

The use of shells as a medium for painting is an exceptionally rare discovery in archaeology, representing a art form that has been largely overlooked. In this study, we present two shell paintings of the Warring States period (476–221 BCE) discovered in Zhongshan State, Hebei, China. Employing various techniques, including microscopic observation, computed tomography (CT), X-ray fluorescence (XRF), multispectral imaging, and Raman spectroscopy, we non-destructively unveil the exquisite images obscured by soil and reveal the unparalleled shallow relief technique employed in their creation.

=====Classification, Canon, and Genre=====

[https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118885215.ch12 by Richard Vinograd 9/10/15 WILEY Online Library]

Systems of artistic genres, evaluative rankings of artists, and identifications of canonical monuments are all versions of classification and categorization. The identification of canonical objects and forms operated through evolving systems of preservation, collecting, transmission, and dissemination, involving physical monuments, institutions, texts, and publications, from early versions down to modern era museums and art-historical surveys.

=====Influence of Taoism on the invention of the purple pigment used on the Qin terracotta warriors=====

[https://www.sciencedirect.com/science/article/abs/pii/S0305440307000131 by Z. Liu 11/07 ScienceDirect]

Until the 19th century, most pigments were based on naturally occurring colored minerals and dyes, with three significant exceptions: Egyptian Blue, Chinese Blue/Purple and Maya Blue. The former two are alkaline-earth copper silicates, and because of this similarity it has been proposed that the Chinese pigments were derived from Egyptian Blue. Herein, we analyzed clumps of pigment from the Qin warriors and discovered that in spite of the structural similarity to Egyptian Blue, the micro-structural morphology of Chinese Purple is very different.

=====Visualizing the Divine in Medieval China=====

[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch7 by Katherine R. Tsiang 9/10/15 WILEY Online Library]

In Chinese civilization, as in many other cultures, the worship and visual representation of the divine or spiritual in art began in ancient times and has taken many forms throughout history. The early medieval period, third through sixth centuries CE, saw particularly active growth of religious imagery. This chapter discusses art categorized by religious affiliations with Buddhism, Daoism, and ancestor worship.

=====Urban daemons of early Shang: Urbanism in ancient China=====

[https://www.sciencedirect.com/science/article/abs/pii/S2352226716300654 by Elizabeth Childs-Johnson 6/18 ScienceDirect]

Two early Shang (ca.1600–1200 BCE) works of art are critical in demonstrating the thesis that Shang ritual imagery was meaningful as a royal symbol of metamorphosis, in the context of urbanization from its earliest manifestation during the Early Shang era and throughout the heyday of Shang culture. Due to the abundance of newly excavated artifacts and art and of paleographic data in the form of oracle bone inscriptions, it is possible to begin to explain Shang (ca.1600–1046 BCE) religion and its artistic symbolism.

=====In the Name of the Nation: Song Painting and Artistic Discourse in Early Twentieth-Century China=====

[https://onlinelibrary.wiley.com/doi/10.1002/9781444396355.ch22 by Cheng-Hua Wang 14/4/11 WILEY Online Library]

This chapter contains sections titled:

Introduction

Song Painting as the Representation of Chinese Art

Song Painting, National Spirit, and High Civilization

The Song–Yuan Dichotomy and the Polarity of Xieshi (Realistic) and Xieyi (Expressive)

Discursive Formation: Song Painting in the Public Space

References

=====The Language of Portraiture in China=====

[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch6 by Dora C. Y. Ching 9/10/15 WILEY Online Library]

As in many cultures, the production of images or portraits of individuals figures prominently in the visual record of China. This chapter presents an analysis of the wide-ranging spectrum of portraiture-including meticulously painted colorful portraits by unnamed artists or artisans, highly individualized self-portraits, and generic-looking woodblock prints among others-provides a comprehensive view of the practice of portrait making in China and, by extension, situates the genre of portraiture within the broader history of art as a whole.

=====Chinese cloisonné revisited=====

[https://www.sciencedirect.com/science/article/pii/S2667136023000018 by Nigel Wood 12/22 ScienceDirect]

Two papers examining Ming cloisonné enamels on metal and Chinese fahua glazes on ceramics were published in 1989. The analytical work was carried out at the Research Laboratory for Archaeology and the History of Art at Oxford University, and all the cloisonné vessels analysed were dated to the later Ming Dynasty (Ming: 1368–1644). Various parallels and differences emerged from the studies, particularly regarding the extensive use of potassium oxide as a glass network modifier in both traditions.

=====On China's China=====

[https://www.pbs.org/wgbh/nova/sultan/china.html by NOVA ONLINE]

For many centuries China held the secret to making the world's finest porcelain—white, translucent ceramic ware of such high quality that it produced a musical tone when struck. The envy of potters and collectors in Europe and the Middle East, Chinese blue-and-white porcelain owed its excellence to the fine clay available to the Chinese as well as to their high-temperature kilns and the cobalt pigment they used to produce the pieces' brilliant hues.

=====Emptiness-Substance: Xushi=====

[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch16 by Jason C. Kuo 9/10/15 WILEY Online Library]

Xushi (emptiness-substance) is one of the most frequently used terms in Chinese art and literary theory. References to xu and shi appear frequently in Chinese texts on painting written after the sixteenth century, although these terms were discussed in literary theory from Song Dynasty onward. This chapter begins with the elaboration on xushi by looking at the physical living space of the literati, namely the literary garden. Then, it looks at how the creation of a balance of empty and substantial forms has been applied to seal engraving.

=====The Art of “Ritual Artifacts” (Liqi): Discourse and Practice=====

[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch11 by Wu Hung 9/10/15 WILEY Online Library]

In order to understand Chinese art during the extremely long period from prehistoric to early historical times, one must understand the vocabulary, function, meaning, and esthetics of “special artifacts”. This chapter begins with reconstructing a textual discourse on liqi , “ritual/ceremonial artifacts” that developed from the mid- to late Eastern Zhou (sixth-third century BCE), when the demand for such artifacts was itself waning. Then, the chapter shifts focus from the textual discourse to the basic characteristics and development of liqi based on archaeological materials and art historical methodology.

=====Imperial paintings show earliest brown rat domestication=====

[https://www.nature.com/articles/s40494-025-01672-4 by Min-Sheng Peng 12/4/25 npj]

The early domestication of brown rats (Rattus norvegicus) is still unclear. The imperial paintings, The Silk Scroll of Three Rats, depicted domesticated brown rats with coat color variation in China during 1425–1435 AD. It was more than two centuries older than the known record in Japan, presenting the earliest evidence of brown rat domestication.

=====Chinese silk fine art in early Qing dynasty observations from historical literature=====

[https://www.sciencedirect.com/science/article/pii/S2664329423000018 by Li Wang 6/23 ScienceDirect]

This article analyses in some detail the silk fabrics that appear in a historical literary work of the early Qing dynasty, Dream of the Red Chamber, a famous autobiographical work in which the author describes many of the details of the fabrics based on his own experiences and his family's inextricable links with the imperial silk factories of Jiangnan during the Kangxi period. The text also cross-referenced historical archives to show the exquisite silk fashion at the turn of the seventeenth and eighteenth centuries, the pursuit and enjoyment of luxurious silk and imported fabrics by the aristocracy class in the early Qing dynasty, and how this mode affected the lives of ordinary people.

=====Words in Chinese Painting=====

[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch22 by Alfreda Murck 9/10/15 WILEY Online Library]

This chapter examines one of the most obvious features of Chinese painting: the words written on them. The calligraphy enhances the image while the words extend the meaning. Although the focus of this chapter is on brush-written inscriptions on two-dimensional surfaces, it is important to remember the role of writing in early antiquity. The function of inscriptions in China evolved along with the perception that the written language was pictographic and magical. In the hierarchy of the arts, poetry traditionally was considered superior to painting.

=====Early Chinese Glass from Pre-Han to Tang Times=====

[https://www.nature.com/articles/138721a0 by C. G. SELIGMAN, P. D. RITCHIE & H. C. BECK 24/10/1936 nature]

IN a previous letter1, Beck and Seligman described the analysis of a large ornamental glass ” eye-bead” from the Han Chün graves near old Lo Yang, dating back to the second half of the third century B.C. or perhaps even earlier. This bead had the surprisingly high specific gravity of 3.57, and proved to be essentially a lead-barium silicate, with small amounts of soda, lime, alumina, etc.

=====On the Origins of Literati Painting in the Song Dynasty=====

[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch23 by Jerome Silbergeld 9/10/15 WILEY Online Library]

Defining and describing just what “literati painting” is intended to mean has long been a challenge to historians both Chinese and Western. This chapter presents some of the complexities of this subject that continue to challenge, or even elude, art historians. Was “literati painting” (especially in its historical origins) a style, visually distinctive and clearly identifiable? The chapter answers this and other questions related to the origins of literati painting in the Song dynasty.

=====Famous Chinese Painters=====

[https://www.comuseum.com/painting/masters/ by China Online Museum]

History is not only written, but also painted. Throughout the annals of Chinese painting, numerous painting masters emerged to record history. These Chinese painters, whether professional artisans at court, scholar officials in their gardens, Daoist recluses in the mountains, or Buddhist monks in the temples, have all depicted the world in their eyes and minds.

=====A beginner's guide to Imperial China=====

[https://www.khanacademy.org/humanities/art-asia/imperial-china by Khan Academy]

China was a highly literate society that greatly valued poetry and brush-written calligraphy, which along with painting, were called the Three Perfections, reflecting the esteemed position of the arts in Chinese life.

=====Chinese Painting=====

[https://www.comuseum.com/painting/ by China Online Museum]

The history of Chinese painting can be compared to a symphony. The styles and traditions in figure, landscape, and bird-and-flower painting have formed themes that continue to blend to this day into a single piece of music. Painters through the ages have made up this “orchestra,” composing and performing many movements and variations within this tradition.

=====Chinese Art Prints - History, Technique and Printmaking Schools=====

[https://www.artelino.com/articles/chinese_prints.asp by artelino]

The Chinese invented paper and printing long before the Europeans. Chinese woodblock printing boasts a rich tradition spanning over 2,000 years. However, Chinese print artists have remained relatively absent from the international art scene until recent decades. This is now beginning to change.

=====China, 1400–1600 A.D.=====

[https://www.metmuseum.org/toah/ht/08/eac.html by Heilbrunn Timeline of Art History]

The establishment of the Ming dynasty in 1368 marks the return of native rule over all of China for the first time in centuries. An interest in cultural restoration characterizes the first part of the dynasty, when the court sets the style for ceramics, lacquers, textiles, painting, and other arts.

=====Neolithic Period in China=====

[https://www.metmuseum.org/essays/neolithic-period-in-china by Department of Asian Art 1/10/04 THE MET]

The Neolithic period, which began in China around 10,000 B.C. and concluded with the introduction of metallurgy about 8,000 years later, was characterized by the development of settled communities that relied primarily on farming and domesticated animals rather than hunting and gathering. In China, as in other areas of the world, Neolithic settlements grew up along the main river systems. Those that dominate the geography of China are the Yellow (central and northern China) and the Yangzi (southern and eastern China).

=====Teaching China with the Smithsonian=====

[https://asia-archive.si.edu/learn/for-educators/teaching-china-with-the-smithsonian/ by NATIONAL MUSEUM of ASIAN ART]

Welcome! Teaching China with the Smithsonian supports educators everywhere in engaging and inspiring students through the exploration of Chinese art, history, and culture. Discover the richness of one of the world’s oldest civilizations through featured museum objects, videos of art-making traditions, and supporting resources that link art to world history, social studies, and language arts. Focusing on artworks can highlight key curricular themes, enhance cultural competency, and unveil endless paths for inquiry. Thank you for teaching China with us!

=====Chinese Studies=====

[https://guides.library.ucla.edu/chinese/art by UCLA Library]

The database includes five subdatabases: (1) About 10,000 titles of e-books; (2) 26 major newspapers; (3) More than 900 titles of reference; (4) Chinese arts and images; and (5) Some major statistical yearbooks about national economic and social statistics. All the resources are full-text searchable.

=====Video: Ancient Chinese Art | Styles, History & Characteristics=====

[https://study.com/academy/lesson/video/ancient-chinese-art.html by Study.com]

What our learners say

=====Introducing the Association for Chinese Art History=====

[https://www.asianstudies.org/introducing-the-association-for-chinese-art-history/ by Asia Now 2/6/23 Association for Asian Studies]

Scholars of Chinese art history now have a new home to share news, events, and find their communities! The Association for Chinese Art History (ACAH) is a newly-formed committee of AAS, associated with the East and Inner Asia Council (EIAC). It seeks to promote communication and community among scholars of Chinese art and architectural history and the visual cultures of global and diasporic Chinas by providing opportunities for dialogue, promotion of scholarly opportunities and events, and celebration of the achievements of members of our field. Our call for membership is now open – please join us!

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@@ Line 60: / Line 60: @@
 =====Time in Early Chinese Art=====
-[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch10 by Eugene Y. Wang  9/10/15 WILEY.OnlineLibrary]
+[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch10 by Eugene Y. Wang  9/10/15 WILEY.Online Library]
   The Chinese notion of time has mostly been treated as an abstraction extrapolated from various early texts, leading some scholars to make some assertions about the kind of time concept that dominates Chinese thinking. In an illustrated silk manuscript uncovered from a basket case from a tomb at Zidanku, Changsha, ca. 300 BCE, the design is essentially a calendric chronograph. Manipulation of time remains a key function of early Chinese art.
+=====The Yuan Lacuna: The ‘David’ vases and UK collectors of early Chinese blue-and-white porcelain in the early 20th century=====
+[https://www.sciencedirect.com/science/article/pii/S3050997125000077 by Sarah Wong 6/25 ScienceDirect]
+ In 1929, R. L. Hobson (1872–1941), Keeper of Oriental Antiquities at the British Museum, was the first to publish and formally acknowledge the significance of the pair of Yuan blue-and-white temple vases, now known as the David vases. It was the first time in the United Kingdom that this type of blue-and-white porcelain was firmly established as being made in the Yuan dynasty (1271–1368).
+=====Poetry and Pictorial Expression in Chinese Painting=====
+[https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118885215.ch24 by Susan Bush 9/10/15 WILEY]
+ This chapter focuses on certain early Chinese paintings and the links between poetry and painting that extended over a period of nearly a millennium from the early medieval period through the Song dynasty. Two artists, Gu Kaizhi and Guo Xi, can serve as exemplary models for the development of Six Dynasties portraiture and Northern Song landscape, respectively, and their lives and art are discussed in the first two sections of the chapter.
+=====Glassmaking of the Qing Dynasty: A Review, New Data, and New Insights=====
+[https://www.sciencedirect.com/science/article/pii/S2667136020300030 by Hongjiao Ma 12/20 ScienceDirect]
+ Ancient glassmaking has always been a very obscure area of study in China, because glass was a relatively non-essential material, used for decorative and ritual purposes, and was not commonly accessible to Chinese people until the early twentieth century. The lack of glass technology has even been given as an answer to the famous “Needham question”: Why did modern science not develop in Chinese civilization (Martin and MacFarlane 2011).
+=====Time in Early Chinese Art=====
+[https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118885215.ch10 by Eugene Y. Wang 9/10/15 WILEY]
+ The Chinese notion of time has mostly been treated as an abstraction extrapolated from various early texts, leading some scholars to make some assertions about the kind of time concept that dominates Chinese thinking. In an illustrated silk manuscript uncovered from a basket case from a tomb at Zidanku, Changsha, ca. 300 BCE, the design is essentially a calendric chronograph. Manipulation of time remains a key function of early Chinese art.
+=====A miniature world: Revealing warring states period shell paintings from zhongshan state by multiple-methods=====
+[https://www.sciencedirect.com/science/article/abs/pii/S1296207424000918 by Dian Chen 2024 ScienceDirect]
+ The use of shells as a medium for painting is an exceptionally rare discovery in archaeology, representing a art form that has been largely overlooked. In this study, we present two shell paintings of the Warring States period (476–221 BCE) discovered in Zhongshan State, Hebei, China. Employing various techniques, including microscopic observation, computed tomography (CT), X-ray fluorescence (XRF), multispectral imaging, and Raman spectroscopy, we non-destructively unveil the exquisite images obscured by soil and reveal the unparalleled shallow relief technique employed in their creation.
+=====Classification, Canon, and Genre=====
+[https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118885215.ch12 by Richard Vinograd 9/10/15 WILEY Online Library]
+ Systems of artistic genres, evaluative rankings of artists, and identifications of canonical monuments are all versions of classification and categorization. The identification of canonical objects and forms operated through evolving systems of preservation, collecting, transmission, and dissemination, involving physical monuments, institutions, texts, and publications, from early versions down to modern era museums and art-historical surveys.
+=====Influence of Taoism on the invention of the purple pigment used on the Qin terracotta warriors=====
+[https://www.sciencedirect.com/science/article/abs/pii/S0305440307000131 by Z. Liu 11/07 ScienceDirect]
+ Until the 19th century, most pigments were based on naturally occurring colored minerals and dyes, with three significant exceptions: Egyptian Blue, Chinese Blue/Purple and Maya Blue. The former two are alkaline-earth copper silicates, and because of this similarity it has been proposed that the Chinese pigments were derived from Egyptian Blue. Herein, we analyzed clumps of pigment from the Qin warriors and discovered that in spite of the structural similarity to Egyptian Blue, the micro-structural morphology of Chinese Purple is very different.
+=====Visualizing the Divine in Medieval China=====
+[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch7 by Katherine R. Tsiang 9/10/15 WILEY Online Library]
+ In Chinese civilization, as in many other cultures, the worship and visual representation of the divine or spiritual in art began in ancient times and has taken many forms throughout history. The early medieval period, third through sixth centuries CE, saw particularly active growth of religious imagery. This chapter discusses art categorized by religious affiliations with Buddhism, Daoism, and ancestor worship.
+=====Urban daemons of early Shang: Urbanism in ancient China=====
+[https://www.sciencedirect.com/science/article/abs/pii/S2352226716300654 by Elizabeth Childs-Johnson 6/18 ScienceDirect]
+ Two early Shang (ca.1600–1200 BCE) works of art are critical in demonstrating the thesis that Shang ritual imagery was meaningful as a royal symbol of metamorphosis, in the context of urbanization from its earliest manifestation during the Early Shang era and throughout the heyday of Shang culture. Due to the abundance of newly excavated artifacts and art and of paleographic data in the form of oracle bone inscriptions, it is possible to begin to explain Shang (ca.1600–1046 BCE) religion and its artistic symbolism.
+=====In the Name of the Nation: Song Painting and Artistic Discourse in Early Twentieth-Century China=====
+[https://onlinelibrary.wiley.com/doi/10.1002/9781444396355.ch22 by Cheng-Hua Wang 14/4/11 WILEY Online Library]
+ This chapter contains sections titled:
+Introduction
+Song Painting as the Representation of Chinese Art
+Song Painting, National Spirit, and High Civilization
+The Song–Yuan Dichotomy and the Polarity of Xieshi (Realistic) and Xieyi (Expressive)
+Discursive Formation: Song Painting in the Public Space
+References
+=====The Language of Portraiture in China=====
+[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch6 by Dora C. Y. Ching 9/10/15 WILEY Online Library]
+ As in many cultures, the production of images or portraits of individuals figures prominently in the visual record of China. This chapter presents an analysis of the wide-ranging spectrum of portraiture-including meticulously painted colorful portraits by unnamed artists or artisans, highly individualized self-portraits, and generic-looking woodblock prints among others-provides a comprehensive view of the practice of portrait making in China and, by extension, situates the genre of portraiture within the broader history of art as a whole.
+=====Chinese cloisonné revisited=====
+[https://www.sciencedirect.com/science/article/pii/S2667136023000018 by Nigel Wood 12/22 ScienceDirect]
+ Two papers examining Ming cloisonné enamels on metal and Chinese fahua glazes on ceramics were published in 1989. The analytical work was carried out at the Research Laboratory for Archaeology and the History of Art at Oxford University, and all the cloisonné vessels analysed were dated to the later Ming Dynasty (Ming: 1368–1644). Various parallels and differences emerged from the studies, particularly regarding the extensive use of potassium oxide as a glass network modifier in both traditions.
+=====On China's China=====
+[https://www.pbs.org/wgbh/nova/sultan/china.html by NOVA ONLINE]
+ For many centuries China held the secret to making the world's finest porcelain—white, translucent ceramic ware of such high quality that it produced a musical tone when struck. The envy of potters and collectors in Europe and the Middle East, Chinese blue-and-white porcelain owed its excellence to the fine clay available to the Chinese as well as to their high-temperature kilns and the cobalt pigment they used to produce the pieces' brilliant hues.
+=====Emptiness-Substance: Xushi=====
+[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch16 by Jason C. Kuo 9/10/15 WILEY Online Library]
+ Xushi (emptiness-substance) is one of the most frequently used terms in Chinese art and literary theory. References to xu and shi appear frequently in Chinese texts on painting written after the sixteenth century, although these terms were discussed in literary theory from Song Dynasty onward. This chapter begins with the elaboration on xushi by looking at the physical living space of the literati, namely the literary garden. Then, it looks at how the creation of a balance of empty and substantial forms has been applied to seal engraving.
+=====The Art of “Ritual Artifacts” (Liqi): Discourse and Practice=====
+[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch11 by Wu Hung 9/10/15 WILEY Online Library]
+ In order to understand Chinese art during the extremely long period from prehistoric to early historical times, one must understand the vocabulary, function, meaning, and esthetics of “special artifacts”. This chapter begins with reconstructing a textual discourse on liqi , “ritual/ceremonial artifacts” that developed from the mid- to late Eastern Zhou (sixth-third century BCE), when the demand for such artifacts was itself waning. Then, the chapter shifts focus from the textual discourse to the basic characteristics and development of liqi based on archaeological materials and art historical methodology.
+=====Imperial paintings show earliest brown rat domestication=====
+[https://www.nature.com/articles/s40494-025-01672-4 by Min-Sheng Peng 12/4/25 npj]
+ The early domestication of brown rats (Rattus norvegicus) is still unclear. The imperial paintings, The Silk Scroll of Three Rats, depicted domesticated brown rats with coat color variation in China during 1425–1435 AD. It was more than two centuries older than the known record in Japan, presenting the earliest evidence of brown rat domestication.
+=====Chinese silk fine art in early Qing dynasty observations from historical literature=====
+[https://www.sciencedirect.com/science/article/pii/S2664329423000018 by Li Wang 6/23 ScienceDirect]
+ This article analyses in some detail the silk fabrics that appear in a historical literary work of the early Qing dynasty, Dream of the Red Chamber, a famous autobiographical work in which the author describes many of the details of the fabrics based on his own experiences and his family's inextricable links with the imperial silk factories of Jiangnan during the Kangxi period. The text also cross-referenced historical archives to show the exquisite silk fashion at the turn of the seventeenth and eighteenth centuries, the pursuit and enjoyment of luxurious silk and imported fabrics by the aristocracy class in the early Qing dynasty, and how this mode affected the lives of ordinary people.
+=====Words in Chinese Painting=====
+[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch22 by Alfreda Murck 9/10/15 WILEY Online Library]
+ This chapter examines one of the most obvious features of Chinese painting: the words written on them. The calligraphy enhances the image while the words extend the meaning. Although the focus of this chapter is on brush-written inscriptions on two-dimensional surfaces, it is important to remember the role of writing in early antiquity. The function of inscriptions in China evolved along with the perception that the written language was pictographic and magical. In the hierarchy of the arts, poetry traditionally was considered superior to painting.
+=====Early Chinese Glass from Pre-Han to Tang Times=====
+[https://www.nature.com/articles/138721a0 by C. G. SELIGMAN, P. D. RITCHIE & H. C. BECK  24/10/1936 nature]
+ IN a previous letter1, Beck and Seligman described the analysis of a large ornamental glass ” eye-bead” from the Han Chün graves near old Lo Yang, dating back to the second half of the third century B.C. or perhaps even earlier. This bead had the surprisingly high specific gravity of 3.57, and proved to be essentially a lead-barium silicate, with small amounts of soda, lime, alumina, etc.
+=====On the Origins of Literati Painting in the Song Dynasty=====
+[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch23 by Jerome Silbergeld 9/10/15 WILEY Online Library]
+ Defining and describing just what “literati painting” is intended to mean has long been a challenge to historians both Chinese and Western. This chapter presents some of the complexities of this subject that continue to challenge, or even elude, art historians. Was “literati painting” (especially in its historical origins) a style, visually distinctive and clearly identifiable? The chapter answers this and other questions related to the origins of literati painting in the Song dynasty.
+=====Famous Chinese Painters=====
+[https://www.comuseum.com/painting/masters/ by China Online Museum]
+   History is not only written, but also painted. Throughout the annals of Chinese painting, numerous painting masters emerged to record history. These Chinese painters, whether professional artisans at court, scholar officials in their gardens, Daoist recluses in the mountains, or Buddhist monks in the temples, have all depicted the world in their eyes and minds.
+=====A beginner's guide to Imperial China=====
+[https://www.khanacademy.org/humanities/art-asia/imperial-china by Khan Academy]
+ China was a highly literate society that greatly valued poetry and brush-written calligraphy, which along with painting, were called the Three Perfections, reflecting the esteemed position of the arts in Chinese life.
+=====Chinese Painting=====
+[https://www.comuseum.com/painting/ by China Online Museum]
+        The history of Chinese painting can be compared to a symphony. The styles and traditions in figure, landscape, and bird-and-flower painting have formed themes that continue to blend to this day into a single piece of music. Painters through the ages have made up this “orchestra,” composing and performing many movements and variations within this tradition.
+=====Chinese Art Prints - History, Technique and Printmaking Schools=====
+[https://www.artelino.com/articles/chinese_prints.asp by artelino]
+ The Chinese invented paper and printing long before the Europeans. Chinese woodblock printing boasts a rich tradition spanning over 2,000 years. However, Chinese print artists have remained relatively absent from the international art scene until recent decades. This is now beginning to change.
+=====China, 1400–1600 A.D.=====
+[https://www.metmuseum.org/toah/ht/08/eac.html by Heilbrunn Timeline of Art History]
+ The establishment of the Ming dynasty in 1368 marks the return of native rule over all of China for the first time in centuries. An interest in cultural restoration characterizes the first part of the dynasty, when the court sets the style for ceramics, lacquers, textiles, painting, and other arts.
+=====Neolithic Period in China=====
+[https://www.metmuseum.org/essays/neolithic-period-in-china by Department of Asian Art 1/10/04 THE MET]
+ The Neolithic period, which began in China around 10,000 B.C. and concluded with the introduction of metallurgy about 8,000 years later, was characterized by the development of settled communities that relied primarily on farming and domesticated animals rather than hunting and gathering. In China, as in other areas of the world, Neolithic settlements grew up along the main river systems. Those that dominate the geography of China are the Yellow (central and northern China) and the Yangzi (southern and eastern China).
+=====Teaching China with the Smithsonian=====
+[https://asia-archive.si.edu/learn/for-educators/teaching-china-with-the-smithsonian/ by NATIONAL MUSEUM of ASIAN ART]
+ Welcome! Teaching China with the Smithsonian supports educators everywhere in engaging and inspiring students through the exploration of Chinese art, history, and culture. Discover the richness of one of the world’s oldest civilizations through featured museum objects, videos of art-making traditions, and supporting resources that link art to world history, social studies, and language arts. Focusing on artworks can highlight key curricular themes, enhance cultural competency, and unveil endless paths for inquiry. Thank you for teaching China with us!
+=====Chinese Studies=====
+[https://guides.library.ucla.edu/chinese/art by UCLA Library]
+ The database includes five subdatabases: (1) About 10,000 titles of e-books; (2) 26 major newspapers; (3) More than 900 titles of reference; (4) Chinese arts and images; and (5) Some major statistical yearbooks about national economic and social statistics. All the resources are full-text searchable.
+=====Video: Ancient Chinese Art | Styles, History & Characteristics=====
+[https://study.com/academy/lesson/video/ancient-chinese-art.html by Study.com]
+ What our learners say
+=====Introducing the Association for Chinese Art History=====
+[https://www.asianstudies.org/introducing-the-association-for-chinese-art-history/ by Asia Now 2/6/23 Association for Asian Studies]
+ Scholars of Chinese art history now have a new home to share news, events, and find their communities! The Association for Chinese Art History (ACAH) is a newly-formed committee of AAS, associated with the East and Inner Asia Council (EIAC). It seeks to promote communication and community among scholars of Chinese art and architectural history and the visual cultures of global and diasporic Chinas by providing opportunities for dialogue, promotion of scholarly opportunities and events, and celebration of the achievements of members of our field. Our call for membership is now open – please join us!