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bottle. Sung period. Falk collection, New York.
143
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76. Chiin-yao flower bowl. Sung period. Seattle Art Museum.
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143
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77. Chi-chou tea bowl. Sung period. Falk collection, New York.
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144
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78. Tz'u-chou jar. Sung period. Seattle Art Museum.
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144
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*79. Celadon jar. Sung period. Seattle Art Museum.
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153
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80. JênJên-fa (attributed): Horse and Grooms (section of scroll). Yüan period. Fogg Museum of Art, Cambridge, Massachusetts.
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159
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81. Arhat (one of a set of paintings). Yüan period. Hammer collectic New York.
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160
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82. Ch'ien Hsüan: Doves and Pear Blossoms. Yüan period. Cincinnati Art Museum.
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161
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83. Ni Tsan: Autumn Landscape. Yüan period. C. C. Wang collectior New York.
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162
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84. Wu Chên: Bamboo in the Wind. Yüan period. Museum of Fine Arts, Boston.
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163
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85. Blue-and-white dish with lotus-flower design. Yüan period. Falk collection, New York.
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164
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86. Tz'u-chou stoneware jar. Yüan period. Fogg Museum of Art, Cambridge, Massachusetts.
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165
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87. Wooden seated Avalokitesvara (Kuan Yin). Yüan period. Meltze: collection, New York.
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166
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*88. Jade horse. Ming period. Morse collection, New York.
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179
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89. Kuo Hsü: Fisherman (section of scroll). Ming period. Detroit Institute of Arts.
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181
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90. Shên Chou: section from scroll entitled A Scholar in His Study Awaiting a Guest. Ming period. Freer Gallery of Art, Washington.
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182-83
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91. Lü Chi: Birds on a Flowering Tree. Ming period. Morse Collectioi New York.
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184
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92. Portrait of a Korean gentleman. Ming period. Fogg Museum of Art, Cambridge, Massachusetts.
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184
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93. Ivory Arhat. Ming period. Singer collection, Summit, New Jersey.
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185
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94. Porcelain Avalokitesvara (Kuan Yin). Ming period. Morse collection, New York.
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185
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95. Wu Mêng Gate, Imperial Palace, Peking. Ming period.
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186
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96. Hall of Annual Prayers, Temple of Heaven, Peking. Ming period.
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186
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97. Blue-and-white plate. Ming period. Falk collection, New York.
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187
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98. Porcelain box with dragon-and-bird design. Ming period. Fogg Museum of Art, Cambridge, Massachusetts.
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187
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99. Lacquer box with design of dragons, clouds, and lotus flowers. Ming period. Royal Ontario Museum, Toronto.
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188
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*100. "Powder-blue" porcelain vase with gold decoration. Ch'ing period. Morse collection, New York.
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193
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*101. Yellow porcelain dish with dragon design. Ch'ing period. Morse collection, New York.
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199
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102. Wang Hui: Landscape After Ni Tsan. Ch'ing period. Morse collecion, New York.
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201
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103. Sages in a Landscape (section of scroll). Ch'ing period. Freer Gallery of Art, Washington.
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202-203
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104. Shih-t'ao : Landscape. Ch'ing period. Private collection, China.
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204
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105. Chu Ta (Pa-ta Shan-jên): Lotuses. Ch'ing period. Mi Chou Gallery, New York.
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20s
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106. Chi Pai-shih: Frogs and Tadpoles. Period of the Republic. Morse collection, New York.
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205
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107. Chi Pai-shih: Cottages in a Cypress Grove. Period of the Republi Morse collection, New York.
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205
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108. Tseng Yu-ho: Sung Landscape. Twentieth century (1958). Collection of the artist, Honolulu.
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206
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109. Walasse Ting: Two Eagles. Twentieth century (1965). Lefebre Gallery, New York.
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206
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110. Woodcuts of birds from the Mustard Seed Garden Manual of Painting. Ch'ing period. New York Public Library (Spencer collection).
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207
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111. Woodblock folk print of tiger. Ch'ing period. Meltzer collectio New York.
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207
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112. Famille verte porcelain vase. Ch'ing period. White House collection, Washington.
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208
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113. Jade incense burner. Ch'ing period. Morse collection, New Yor
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208
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*114. Porcelain pilgrim bottle with molded dragon design. Ch'ing period. Morse collection, New York.
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209
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*115· Imperial dragon robe. Ch'ing period. Morse collection, New York.
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215
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Acknowledgments
I wish to express my gratitude to colleagues of both the East and the West whose research and writings, both supplementing and complementing my own study, have made this book possible. Some are mentioned in the text and some are listed in the bibliography. Still others remain unmentioned, but to each and all I extend my thanks.
I am also grateful to those who furnished the photographs which contribute so much to this book. Especial thanks are due to Mr. Earl Morse of New York, who provided most of the color plates and a goodly number of monochromes, to Mr. and Mrs. Myron Falk, also of New York, who kindly permitted photographic reproductions of Chinese ceramics in their private collection, and to Dr. Paul Singer, of Summit, New Jersey, who graciously supplied me with photographs of objects in his collection.
CHAPTER ONE
The Art of PREHISTORIC CHINA
(c. 3000 B.C.-c. 1500 B.C.)
CHINA CAN look back upon the oldest continuous artistic tradition existing in the world today. Other civilizations predated the Chinese—ancient Mesopotamia, dynastic Egypt, Minoan Crete, Jomon Japan, and those of prehistoric Iran and the Indus valley—but only in China does a current civilization extend back in unbroken continuity for well over four thousand years. Both the people and the culture descend directly from a civilization which took form during the third millennium before Christ. Many characteristics of prehistoric Chinese art persist or recur throughout these centuries in a continuity found in no other great civilization of today.
Like the legends of all cultures, those of China describe the origin of the world. In one common version, P'an Ku created the world by separating heaven and earth. During the next 400,000 years, the Twelve Emperors of Heaven
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