Early Chinese Art: Difference between revisions

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