DOCSLIB.ORG

CHINESE WORKS of ART and PAINTINGS Monday March 19, 2018 New York

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHINESE WORKS of ART and PAINTINGS Monday March 19, 2018 New York CHINESE WORKS OF ART AND PAINTINGS Monday March 19, 2018 New York CHINESE WORKS OF ART AND PAINTINGS Monday March 19, 2018 at 12pm New York BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Head, Asian Art Group U.S. Front cover: Lot 8028 New York, New York 10022 +1 (212) 644 9009 Fax Dessa Goddard, Director Inside front cover: Lot 8228 bonhams.com [email protected] +1 (415) 503 3333 Inside back cover: Lot 8229 [email protected] Back cover: Lot 8047 PREVIEW Bidding by telephone will only Thursday March 15 be accepted on a lot with a lower Bruce Maclaren, Senior Specialist 10am-5pm estimate in excess of $1000 +1 (917) 206 1677 Friday March 16 [email protected] 10am-5pm Please note that bids should be Saturday March 17 summited no later than 24hrs Harold Yeo, Consultant Specialist 10am-5pm prior to the sale. New Bidders +1 (917) 206 1628 Sunday March 18 must also provide proof of [email protected] 10am-5pm identity when submitting bids. Failure to do this may result in Ming Hua, Junior Specialist SALE NUMBER your bid not being processed. +1 (646) 837 8132 24819 [email protected] Live online bidding is CATALOG: $35.00 available for this sale Please email bids.us@bonhams. Please see pages 187 to 190 com with “Live bidding” in the for bidder information including subject line 48hrs before the Conditions of Sale, after-sale auction to register for this service. collection and shipment. All items marked with a W in the catalog and listed again on page 190, will be transferred to off-site storage along with all other items purchased if not removed by 5pm ET Thursday 22nd March. CLIENT SERVICES +1 (212) 644 9001 +1 (212) 644 9009 Fax © 2018 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Principal Auctioneer: Patrick Meade. NYC License No. 1183066-DCA INTERNATIONAL CHINESE CERAMICS AND WORKS OF ART TEAM Colin Sheaf Dessa Goddard Asaph Hyman USA Bruce MacLaren Ming Hua Harold Yeo Chinese Art Chinese Art Chinese Art New York New York New York Henry Kleinhenz Daniel Herskee Ling Shang Amelia Chau * Mark Rasmussen * Doris Jin Huang Rachel Du Chinese Art Chinese Art Chinese Art Chinese Paintings Indian, Himalayan, & Indian, Himalayan, & Chinese Art San Francisco San Francisco San Francisco San Francisco Southeast Asian Art Southeast Asian Art Los Angeles New York New York ASIA AND AUSTRALIA Xibo Wang Gigi Yu Edward Wilkinson* Yvett Klein Hong Kong Hong Kong Hong Kong Sydney EUROPE Benedetta Mottino Sing Yan Choy Edward Luper Rachel Hyman Rosangela Assennato Ben Law Smith Ian Glennie Asha Edwards London, London, London, London, London, London, Edinburgh Edinburgh New Bond Street New Bond Street New Bond Street Knightsbridge Knightsbridge Knightsbridge ASIA REPRESENTATIVES Summer Fang Bernadette Rankine Taipei Singapore * Indian, Himalayan & Southeast Asian Art CHINESE SNUFF BOTTLES Lots 8000 - 8027 (two views) PROPERTY FROM THE THE COLLECTION OF LOIS F. KLOPPENBURG 8000 AN INSIDE-PAINTED CRYSTAL SNUFF BOTTLE Wang Xisan, 1972 Of rounded square form, the narrow sides carved in relief with lion mask and mock ring handles, one interior face painted with two fluffy kittens playing by asters, with one painted seal reading xiao mao (kittens), the other side painted with two cats, their attention transfixed by something in the distance, inscribed linu (an ancient phrase for cat), dated renzi chu chun (early spring 1972), signed Xisan painted at the Yihu Zhai, followed by two painted seals reading Xisan and Wang. 2 5/8in (6.6cm) high $7,000 - 9,000 1972年 王習三内畫水晶「狸奴」鼻煙壺 落款 狸奴壬子初春習三作於一壺齋 Provenance Y.F. Yang & Co., Hong Kong, 1973 4 | BONHAMS (two views) 8001 AN INSIDE-PAINTED CRYSTAL SNUFF BOTTLE One Bottle Studio, 1971 Of flattened circular form, the narrow sides carved in low relief with lion mask and mock ring handles, each face carved with a raised circular panel, one inside face painted with two cats in front of flowering lilies, the other side painted with two cats, one playing with a butterfly, dated xinhai heyue (sixth month, 1971), and inscribed xie yu Yihuzhai (painted at One Bottle Studio), followed by a painted seal with a contraction of the character Ji, a reference to Hebei province and Wang Xisan’s Ji school. 2 5/8in (6.6cm) high $3,000 - 5,000 1971年 一壺齋内畫水晶雙貓圖鼻煙壺 落款 辛亥荷月寫於一壺齋 Provenance Y.F. Yang & Co., Hong Kong, 1973 CHINESE WORKS OF ART AND PAINTINGS | 5 8002 A PAIR OF JADEITE ‘DRAGON AND PHOENIX’ SNUFF BOTTLES 20th century Each of flattened rounded rectangular form, surmounted by tubular necks with flat lips, and supported on oval foot rings, the russet skin on the short sides used to carve a dragon on one, and a phoenix on the other, the green stone with icy-white inclusions and dark green patches. (2) 2 7/8in (7.3cm) high, the taller $3,000 - 5,000 二十世紀 翠玉雕龍鳳紋鼻煙壺一對 Provenance Sotheby’s, New York, lot 153 (according to label) 8002 8003 A WHITE JADE SNUFF BOTTLE 18th century Of rectangular form, tapering slightly towards the base, each side with a raised rectangular panel, surmounted by a tubular neck with a concave lip, flanked by lion mask and mock ring handles on the shoulders, all supported on a foot ring of conforming outline, the evenly-colored white stone with minor cloudy inclusions. 2 1/2in (6.2cm) high $5,000 - 7,000 十八世紀 白玉雕舖首耳鼻煙壺 Published The International Chinese Snuff Bottle Society Journal, Spring 1996, cover. 8003 8004 A LAVENDER JADEITE ‘GOATS’ SNUFF BOTTLE 20th century Of ovoid form with a tubular neck, flat lip and flat foot, each side carved in low-relief with a sure-footed goat climbing over jagged rocks, the deep lavender-hued stone with some cloudy inclusions. 2 1/8in (5.5cm) high $3,000 - 5,000 二十世紀 紫羅蘭翠玉雕山羊紋鼻煙壺 8004 6 | BONHAMS 8005 A CINNABAR LACQUER ‘LANDSCAPE’ SNUFF BOTTLE 19th/early 20th century Of flattened ovoid shape, each side finely carved through layers of red lacquer to depict a view of figures heading towards walled temples in a mountainous landscape, each scene framed by lotus scrolls at the sides, and foliate scrolls and lappets at the shoulder and foot. 2 1/2in (6.2cm) high $2,000 - 3,000 十九世紀/二十世紀初 剔紅山水圖鼻煙壺 8005 8006 A MINIATURE RED GLASS SNUFF BOTTLE 18th century Of flattened spherical form, the shoulders rising to a tubular neck with a wide mouth, all supported on a slightly splayed foot ring, the thin transparent walls causing the glass to appear pink. 1 1/2in (3cm) high $2,000 - 3,000 十八世紀 紅料光素袖珍鼻煙壺 A number of glass bottles of this size are illustrated by Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 5, Hong Kong, 2002, nos. 678, 711, 779, 789, and 815. The authors note that by the standards of the larger bottles of the Qianlong period onwards, bottles of this size might be considered miniature, but such small bottles were not unusual from the Yongzheng and early Qianlong 8006 reigns, op. cit. p. 320. 8007 A BLACK AND RED DOUBLE OVERLAY WHITE GLASS ‘HORSE AND MONKEY’ SNUFF BOTTLE 19th century The flattened globular body of opaque white glass, overlaid with black on red, carved to each face to form the design of a monkey and a horse, the shoulders carved with lion mask and mock ring handles, the overlay also carved to form the oval foot ring. 2 1/8in (5.5cm) high $2,000 - 4,000 十九世紀 涅白地套紅黑料馬上封侯圖鼻煙壺 Provenance Y.F. Yang & Co., Hong Kong, 1973 Illustrated 8007 The International Chinese Snuff Bottle Society Journal, Spring 1995, cover. CHINESE WORKS OF ART AND PAINTINGS | 7 (two views) 8008 AN INSIDE PAINTED SMOKY QUARTZ SNUFF BOTTLE Wang Xisan, 1971 Of rounded rectangular form, one side painted with two cats playing with butterflies, the other side painted with two cats by a flowering lily, their attention captured by something in front of them, dated xinhai shengxia (deep summer 1971), inscribed Xisan xie yu Yihuzhai (painted by Xisan at the One Bottle Studio), followed by a painted seal reading Xisan. 2 7/8in (7.3cm) high $7,000 - 9,000 1971年 王習三内畫茶晶雙貓圖鼻煙壺 落款 辛亥盛夏習三寫於一壺齋 Provenance Y.F. Yang & Co., Hong Kong, 1973 8 | BONHAMS (two views) 8009 AN INSIDE PAINTED AGATE SNUFF BOTTLE Wang Xisan, 20th century Of flattened rounded form, one side with brown inclusions and irregular surface, the inside painted with a lotus blossom, reeds and butterfly, the other side painted with an eleborate mansion on the edge of a cliff, surrounded by trees, with a waterfall in the distance, the translucency of the material imbuing the scene with a ethereal feel, signed Wang Xisan, with one painted seal reading Xisan. 2 1/4in (5.5cm) high $6,000 - 8,000 二十世紀 王習三内畫瑪瑙山水蓮塘圖鼻煙壺 落款 王習三作 Provenance Y.F. Yang & Co., Hong Kong, 1973 CHINESE WORKS OF ART AND PAINTINGS | 9 8010 AN INSIDE PAINTED SMOKY QUARTZ SNUFF BOTTLE Ding Guiling, 1972 Of flattened rounded square form, one side painted with a scene of Guanyin and Shancai, inscribed Guanyin Dashi (venerable Guanyin) and one painted seal reading yin, the other side painted with six children playing with Budai, inscribed liuzi nao Xifo (six sons play with Happy Buddha), dated renzi dongyue (winter, 1972) and signed Ding Guiling painted in Beijing, followed by one seal reading yin. 2 3/8in (5.7cm) high $1,000 - 1,500 1972年 丁桂玲内畫觀音喜佛圖茶晶鼻煙壺 Provenance Y.F. Yang & Co., Hong Kong, 1973 Ding Guiling was a female student of Ye Bengqi. She was active in Beijing in the 1960s and 70s.
Load more

Recommended publications
  • The Call of the Siren: Bod, Baútisos, Baîtai, and Related Names (Studies in Historical Geography II)
    The Call of the Siren: Bod, Baútisos, Baîtai, and Related Names (Studies in Historical Geography II) Bettina Zeisler (Universität Tübingen) 1. Introduction eographical or ethnical names, like ethnical identities, are like slippery fishes: one can hardly catch them, even less, pin them G down for ever. The ‘Germans’, for example, are called so only by English speakers. The name may have belonged to a tribe in Bel- gium, but was then applied by the Romans to various tribes of North- ern Europe.1 As a tribal or linguistic label, ‘German (ic)’ also applies to the English or to the Dutch, the latter bearing in English the same des- ignation that the Germans claim for themselves: ‘deutsch’. This by the way, may have meant nothing but ‘being part of the people’.2 The French call them ‘Allemands’, just because one of the many Germanic – and in that case, German – tribes, the Allemannen, settled in their neighbourhood. The French, on the other hand, are called so, because a Germanic and, in that case again, German tribe, the ‘Franken’ (origi- nally meaning the ‘avid’, ‘audacious’, later the ‘free’ people) moved into France, and became the ruling elite.3 The situation is similar or even worse in other parts of the world. Personal names may become ethnic names, as in the case of the Tuyu- hun. 4 Names of neighbouring tribes might be projected onto their overlords, as in the case of the Ḥaža, who were conquered by the Tuyuhun, the latter then being called Ḥaža by the Tibetans. Ethnic names may become geographical names, but then, place names may travel along with ethnic groups.
    [Show full text]
  • Views of a Porcelain 15
    THE INFLUENCE OF GLASS TECHNOLOGY vessels nor to ceramic figurines, but to beads made in imitation of imported glass.10 The original models were ON CHINESE CERAMICS eye-beads of a style produced at numerous sites around the Mediterranean, in Central Asia and also in southern Russia, and current in the Near East since about 1500 Nigel Wood BC.11 A few polychrome glass beads found their way to Research Laboratory for Archaeology and the History of Art, University of Oxford. China in the later Bronze Age, including one example excavated from a Spring and Autumn period (770-476 BC) site in Henan province.12 This particular blue and ONE OF THE MOST IMPORTANT AND ENDURING DIFFER- white eye bead was of a style current in the eastern ences between the ceramics of China and the Near East Mediterranean in the 6th to 3rd century BC and proved lies in the role that glass has played in the establishment to have been coloured by such sophisticated, but of their respective ceramic traditions. In the ceramics of typically Near Eastern, chromophores as calcium- Mesopotamia, Persia, Egypt, and Syria glass technology antimonate-white, cobalt-blue and a copper-turquoise, proved vital for the development of glazed ceramics. while its glass was of the soda-lime type, common in 13 Figure 2. Earthenware jar with weathered glazes. Warring States Following the appearance of glazed stone-based the ancient world. period. Probably 3rd century BC (height: 9.5 cm). The British ceramics in the fourth millennium BC, the first glazes These ‘western’ beads would have been wonders in Museum.
    [Show full text]
  • To Search High and Low: Liang Sicheng, Lin Huiyin, and China's
    Scapegoat Architecture/Landscape/Political Economy Issue 03 Realism 30 To Search High and Low: Liang Sicheng, Lin ­Huiyin, and China’s Architectural Historiography, 1932–1946 by Zhu Tao MISSING COMPONENTS Living in the remote countryside of Southwest Liang and Lin’s historiographical construction China, they had to cope with the severe lack of was problematic in two respects. First, they were financial support and access to transportation. so eager to portray China’s traditional architec- Also, there were very few buildings constructed ture as one singular system, as important as the in accordance with the royal standard. Liang and Greek, Roman and Gothic were in the West, that his colleagues had no other choice but to closely they highly generalized the concept of Chinese study the humble buildings in which they resided, architecture. In their account, only one dominant or others nearby. For example, Liu Zhiping, an architectural style could best represent China’s assistant of Liang, measured the courtyard house “national style:” the official timber structure exem- he inhabited in Kunming. In 1944, he published a plified by the Northern Chinese royal palaces and thorough report in the Bulletin, which was the first Buddhist temples, especially the ones built during essay on China’s vernacular housing ever written the period from the Tang to Jin dynasties. As a by a member of the Society for Research in Chi- consequence of their idealization, the diversity of nese Architecture.6 Liu Dunzhen, director of the China’s architectural culture—the multiple con- Society’s Literature Study Department and one of struction systems and building types, and in par- Liang’s colleagues, measured his parents’ country- ticular, the vernacular buildings of different regions side home, “Liu Residence” in Hunan province, in and ethnic groups—was roundly dismissed.
    [Show full text]
  • Originally, the Descendants of Hua Xia Were Not the Descendants of Yan Huang
    E-Leader Brno 2019 Originally, the Descendants of Hua Xia were not the Descendants of Yan Huang Soleilmavis Liu, Activist Peacepink, Yantai, Shandong, China Many Chinese people claimed that they are descendants of Yan Huang, while claiming that they are descendants of Hua Xia. (Yan refers to Yan Di, Huang refers to Huang Di and Xia refers to the Xia Dynasty). Are these true or false? We will find out from Shanhaijing ’s records and modern archaeological discoveries. Abstract Shanhaijing (Classic of Mountains and Seas ) records many ancient groups of people in Neolithic China. The five biggest were: Yan Di, Huang Di, Zhuan Xu, Di Jun and Shao Hao. These were not only the names of groups, but also the names of individuals, who were regarded by many groups as common male ancestors. These groups first lived in the Pamirs Plateau, soon gathered in the north of the Tibetan Plateau and west of the Qinghai Lake and learned from each other advanced sciences and technologies, later spread out to other places of China and built their unique ancient cultures during the Neolithic Age. The Yan Di’s offspring spread out to the west of the Taklamakan Desert;The Huang Di’s offspring spread out to the north of the Chishui River, Tianshan Mountains and further northern and northeastern areas;The Di Jun’s and Shao Hao’s offspring spread out to the middle and lower reaches of the Yellow River, where the Di Jun’s offspring lived in the west of the Shao Hao’s territories, which were near the sea or in the Shandong Peninsula.Modern archaeological discoveries have revealed the authenticity of Shanhaijing ’s records.
    [Show full text]
  • The Late Northern Dynasties Buddhist Statues at Qingzhou and the Qingzhou Style
    The Late Northern Dynasties Buddhist Statues at Qingzhou and the Qingzhou Style Liu Fengjun Keywords: late Northern Dynasties Qingzhou area Buddhist statues Qingzhou style In recent years fragmentary Buddhist statues have been Northern Qi period. (3) In the winter of 1979, 40 small frequently unearthed in large numbers in Qingzhou 青州 and large fragmentary statues and some lotus socles were and the surrounding area, including Boxing 博兴, discovered at the Xingguo Temple 兴国寺 site in Gaoqing 高青, Wudi 无棣, Linqu 临朐, Zhucheng 诸 Qingzhou, mainly produced between the end of North- 城, and Qingdao 青岛. Especially notable are the large ern Wei and Northern Qi period. There were also two quantities of statues at the site of the Longxing Temple Buddha head sculptures of the Sui and Tang periods. (4) 龙兴寺 at Qingzhou. The discovery of these statues drew In the 1970s, seven stone statues were discovered at great attention from academic circles. The significance He’an 何庵 Village, Wudi County. Four of them bear of these statues is manifold. I merely intend to under take Northern Qi dates. (5) In November 1987, one single a tentative study of the causes and date of the destruction round Bodhisattva stone sculpture of the Eastern Wei of the Buddhist statues and of the artistic features of the period and one round Buddhist stone sculpture of the Qingzhou style statues. Northern Qi period were discovered on the South Road of Qingzhou. Both works were painted colorfully and I. Fragmentary Buddhist Statues of the Late partly gilt. They were preserved intact and remained Northern Dynasties Unearthed in the Qingzhou Area colorful.
    [Show full text]
  • The Romance of the Three Kingdoms Podcast. This Is Episode 28. Last
    Welcome to the Romance of the Three Kingdoms Podcast. This is episode 28. Last time, Liu Bei had convinced Cao Cao to let his take an army and go intercept Yuan Shu, who was on his way to join up with Yuan Shao. But soon after Liu Bei left the capital Xuchang, Cao Cao regretted his decision and sent his general Xu (2) Chu (3) to ask Liu Bei to turn around. When Xu Chu caught up, Liu Bei told him thanks but no thanks. A commander in the field doesn’t have to follow an order from his lord, so what are you going to do about it, aside from turning around and going home? Well, Xu Chu, who was not exactly the brightest light bulb on Cao Cao’s staff, thought to himself, “The prime minister has always been on good terms with Liu Bei. Besides, he didn’t order me to come start a fight. I’ll just relay his message and figure it out from there.” So Xu Chu took his leave and went back to tell Cao Cao what happened. When Cao Cao heard the report, he couldn’t decide how to proceed. His advisers Cheng Yu and Guo Jia, however, were sure this was a sign that Liu Bei has turned on him. “I have my officers Zhu (1) Ling (2) and Lu (4) Zhao (1) with him, so Liu Bei might not dare to turn on me,” Cao Cao said. “Besides, I have already issued the order; I cannot take it back.” And so he decided to let Liu Bei go.
    [Show full text]
  • Making the Palace Machine Work Palace Machine the Making
    11 ASIAN HISTORY Siebert, (eds) & Ko Chen Making the Machine Palace Work Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Making the Palace Machine Work Asian History The aim of the series is to offer a forum for writers of monographs and occasionally anthologies on Asian history. The series focuses on cultural and historical studies of politics and intellectual ideas and crosscuts the disciplines of history, political science, sociology and cultural studies. Series Editor Hans Hågerdal, Linnaeus University, Sweden Editorial Board Roger Greatrex, Lund University David Henley, Leiden University Ariel Lopez, University of the Philippines Angela Schottenhammer, University of Salzburg Deborah Sutton, Lancaster University Making the Palace Machine Work Mobilizing People, Objects, and Nature in the Qing Empire Edited by Martina Siebert, Kai Jun Chen, and Dorothy Ko Amsterdam University Press Cover illustration: Artful adaptation of a section of the 1750 Complete Map of Beijing of the Qianlong Era (Qianlong Beijing quantu 乾隆北京全圖) showing the Imperial Household Department by Martina Siebert based on the digital copy from the Digital Silk Road project (http://dsr.nii.ac.jp/toyobunko/II-11-D-802, vol. 8, leaf 7) Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 035 9 e-isbn 978 90 4855 322 8 (pdf) doi 10.5117/9789463720359 nur 692 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) The authors / Amsterdam University Press B.V., Amsterdam 2021 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise).
    [Show full text]
  • Catherine Southon Auctioneers & Valuers Ltd 1
    Catherine Southon Auctioneers & Valuers Ltd Sale Results 032_Sep20 Lot Description Price excl. Premium 1 A late Victorian giltwood and gesso wall mirror £100 2 A 19th century giltwood and gesso overmantel mirror £450 3 A Regency giltwood and verre elglomise pier glass £110 5 20th c black lacquered and gilt Chinoiserie framed easel back mirror £40 7 A small Victorian figured walnut glazed pier cabinet £110 8 George III East Anglian fruitwood and elm bar back child's armchair £50 9 A 19th century glazed mahogany wall cabinet £60 10 A George III upholstered side chair c.1780 £65 11 A George III mahogany and satinwood chest of drawers £1,200 12 18th c Italian Neo-Classical fruitwood and parquetry small commode £120 13 George III Brazilian rosewood, sycamore table; manner of Gillow c.1800 £400 14 A George III rosewood display cabinet c.1800 £1,600 15 A George III mahogany secretaire bookcase of narrow proportions £200 16 A George III mahogany four division Canterbury c.1800 £190 17 A Regency mahogany domed cellaret £90 18 A set of six George III mahogany mahogany dining chairs (6) £55 19 A Victorian burr walnut breakfront credenza £350 20 An unusual late Regency small mahogany three tier whatnot £130 21 An Edwardian mahogany wall hanging gazed display cabinet £80 22 A George III mahogany demi-lune fold over tea table £120 23 A 17th century carved oak six plank coffer £300 24 19c Fr. Louis XVI style kingwood and marquetry oval occasional table £260 27 19th c miniature stained beechwood Lancashire armchair, others (3) £80 29 French Empire style mahogany framed tub armchairs c.1900 (2) £400 30 A French Louis XV mahogany and ormolu mounted encoignure £380 31 A lacquered brass and smokey glass set of three low occasional tables £170 33 Early 20th c white painted wirework garden/ conservatory armchairs (2) £190 34 A pair of Victorian white painted cast iron garden urns (2) £220 35 A lead garden figure of Peter Pan playing the pipes £750 36 A Chin.
    [Show full text]
  • Chińskie Kalendarze
    PISMO PG 35 Podró¿e w przestrzeni i w czasie Chiñskie kalendarze radycyjny chiñski kalendarz jest bar- cy wyliczyli d³ugoæ roku na 365 dni Tdzo star¹ metod¹ liczenia czasu, siê- i 6 godzin, a miesi¹c ksiê¿ycowy na 29 gaj¹c¹ odleg³ych czasów i dynastii. Lata dni i 12 godzin. W kalendarzu wówczas liczono zawsze w powi¹zaniu z panuj¹cym u¿ywanym by³y dok³adnie wyliczone pory w³adc¹. Kalendarz by³ wówczas wiêtym roku i fazy ksiê¿yca. Jaki by³ wiêc ten dokumentem, sponsorowanym i zatwier- najstarszy kalendarz? Sami Chiñczycy dzanym przez cesarza. Obecny, 4700 rok nazywali go Yin-Yang Li, gdy¿ by³ on jed- jest sum¹ lat panowania wszystkich cesa- noczenie ksiê¿ycowy i s³oneczny. Kalen- rzy, oraz czasów Republiki Chiñskiej i darz ten powstawa³ zawsze na bazie bar- Chiñskiej Republiki Ludowej. Rozpocz¹³ dzo dok³adnych astronomicznych obser- wacji s³oñca, uk³adu gwiazd i faz ksiê¿y- siê w lutym. Wed³ug chiñskiej astrologii Fragment chiñskiego kalendarza [w:] L. Too bêdzie to Rok Wodnej Owcy, Kwei Wei (lub ca. Znacznie siê te¿ ró¿ni³ od znanego nam Chiñska wiedza tajemna. Duchowa magia na Czarnej Owcy, gdy¿ czarny jest kolorem kalendarza gregoriañskiego. Podobnie jak co dzieñ W-wa, KDC, 2002 wody). Znawcy tematu utrzymuj¹, ¿e po- hebrajski, chiñski kalendarz jest kombi- cz¹tki kalendarza chiñskiego nale¿y wi¹- nowanym kalendarzem s³onecznym i ksiê- wo³u, tygrysa, królika, smoka, wê¿a, ko- zaæ z tak zwanym ¯ó³tym Cesarzem, mi- ¿ycowym. S¹ te¿ i inne podobieñstwa: 12 nia, owcy, ma³py, koguta, psa i wini).
    [Show full text]
  • The Concept of the Five Famous Wares of the Song Dynasty —A Modern Invention
    The Concept of the Five Famous Wares of the Song Dynasty —A Modern Invention Sabrina Rastelli Department of Asian and North African Studies, Ca’ Foscari University of Venice, Venice, Italy Abstract The concept of the five famous wares of the Song dynasty is a fundamental theory that has influenced both researching and learning about Chinese ceramics. Archaeological excavations carried out since the 1950s and particularly during the past two decades have provided modern scholars with many and precious pieces of information that have deeply changed our understanding of the history of Chinese ceramics. They have also undermined the concept itself, but when discussing Ding, Ru, Jun, Guan or Ge experts seldom resist the temptation to remind that it is one of the five famous wares. The aim of this paper is to trace back when and how this definition was coined, by combing through Chinese sources. Key words five famous wares China ceramics ceramic literature Song The concept of the five famous wares of the Song dynasty (Songdai Wuda Mingyao 宋代五大名窑 ) is a fundamental theory that has influenced both researching and learning about Chinese ceramics. At the end of the 1980s, Song wares were classified as either official or popular. The first category was constituted by the so-called five famous wares of the Song dynasty, namely Ding（定）, Ru（汝）, Jun（钧）, Guan（官）and Ge（哥）. Ten years later, while researching for my PhD thesis, I began to doubt the exactness of this theory, but I explored the problem only from the perspective of the Yaozhou ( 耀州 ) kilns (Rastelli, 2008).
    [Show full text]
  • PACIFIC WORLD Journal of the Institute of Buddhist Studies
    PACIFIC WORLD Journal of the Institute of Buddhist Studies Third Series Number 17 2015 Special Issue: Fiftieth Anniversary of the Bukkyō Dendō Kyōkai A Commentary on The Upadeśa on the Sutras of Limitless Life with Gāthās on the Resolution to Be Born Composed by the Bodhisattva Vasubandhu: Expository Commentary by the Monk Tanluan Trans. by Roger Corless† Trans. revised and updated by Takahiko Kameyama Ed. by Richard K. Payne ABBREVIATIONS AND NOTES Vasubandhu’s gāthās and upadeśa appear in italics Footnotes and bracketed material by Roger Corless, unless noted RKP = Richard K. Payne TK = Takahiko Kameyama T. = Taishō Shinshū Daizōkyō K. = Kashiwabara Yūgi, Shinshū Tsūge Zensho, cited by page number and (sometimes) note number in the jige sections of vol. 1 S.B.E. = Sacred Books of the East. Cited by volume, part (if applicable), and page Morohashi = Morohashi Tetsuji, Dai Kan-Wa Jiten, cited by entry number The Comma = Vasubandhu’s text v.l. = varia lectio, variant reading: a character that appears in the Apparatus (T. footnote) rather than the text 69 70 Pacific World [FIRST JUAN, T. 40:826A–834C] [INTRODUCTION, 826A28–827A1] [General Purport and Authenticity of the Work, 826a28–b28] I respectfully refer to the Explanation of the Ten Stages of the Bodhisattva Path (Daśabhūmikavibhāṣā śāstra)1 written by the Bodhisattva Nāgārjuna,2 who tells us that there are two ways in which a bodhisattva may attain to the stage from which one never regresses (avaivartika, apibazhi 阿毘跋致).3 The first is the path of difficult practice (nanxing dao 難行道) and the second is the path of easy practice (yixing dao 易 行道).
    [Show full text]
  • REVISED DRAFT for Entertext
    EnterText 5.3 J. GILL HOLLAND Teaching Narrative in the Five-Character Quatrain of Li Po 1 The pattern of complication and resolution within the traditional five-character quatrain (chüeh-chü, jueju) of “Ancient Style poetry” (ku-shih, gushi) of Li Po (Li Bo, Li Bai; 701-762) goes a long way toward explaining Burton Watson’s high praise of Li Po’s poetry: “It is generally agreed that [Li Po] and Tu Fu raised poetry in the shih form to its highest level of power and expressiveness.”1 To his friend Tu Fu, Li Po left the “compact and highly schematized form of Regulated Verse” (lü-shih, lushi), which was deemed the ideal poetic form in the High T’ang of the eighth century.2 Before we begin, we must distinguish between Ancient Style poetry, which Li Po wrote, and the more celebrated Regulated Verse. The purpose of this essay is to explain the art of Li Po’s quatrain in a way that will do justice to the subtlety of the former yet avoid the enormous complexities of the latter.3 The strict rules dictating patterns of tones, parallelism and caesuras of Regulated Verse are not the subject of our attention here. A thousand years after Li Po wrote, eight of his twenty-nine poems selected for the T’ang-shih san-pai-shou (Three Hundred Poems of the T’ang Dynasty, 1763/1764), J. Gill Holland: The Five-Character Quatrain of Li Po 133 EnterText 5.3 the most famous anthology of T’ang poetry, are in the five-character quatrain form.4 Today even in translation the twenty-character story of the quatrain can be felt deeply.
    [Show full text]