Early Chinese Art: Difference between revisions
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[https://onlinelibrary.wiley.com/doi/abs/10.1002/9781118885215.ch24 by Susan Bush 9/10/15 WILEY] | [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. | 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). | |||
