Early Chinese Art: Difference between revisions
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[https://onlinelibrary.wiley.com/doi/10.1002/9781118885215.ch6 by Dora C. Y. Ching 9/10/15 WILEY Online Library] | [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. | 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. | |||
