Early Chinese Art: Difference between revisions
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[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.OnlineLibrary] | ||
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 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). | |||
