A Handbook of Chinese Ceramics

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and other animals; and raised silkworms. Marks of fabrics found on some pottery indicate that the crafts of spinning and weaving were well advanced. Banpo~type settlements have been excavated in other parts of Shaanxi Province, as well as in southern Shanxi, southeastern Gansu, and northern Hubei provinces. "Cord~marked" earthenwares with a variety of surface patterns (No. 2) constituted the bulk of Banpo ceramics; black~painted pottery (No. 3) formed only a small percentage of the total Banpo ceramic inventory. Miaodigou. A later phase of the Yangshao culture in this region is typified by the remains discovered in 1953 at Miaodigou in Shan xian, Henan Province. Both archaeological evidence and radiocarbon dating have shown the Miaodigou period to be somewhat later than the Banpo. H The Miaodigou culture was distributed over 3· BOWL. Earthenware with painted decoration. Neolithic a larger area than the Banpo; important sites have been period, ca. 48oo-36oo B.c. Yangshaoculture, Banpophase. found in eastern Shaanxi, eastern Gansu, and southern Excavated at Banpocun, Xian, Shaanxi Province. From Shanxi provinces. While "cord~marked" wares still Historical Relics Unearthed in New China, 1972. dominated the ceramics during the Miaodigou phase, painted pottery was more prevalent than before. White slip was frequently used on Miaodigou painted pottery; designs were primarily drawn in black, although some red was also used. The Yangshao culture at Dadiwan. Recent excavations have shown that the Yangshao culture extended farther into the upper Wei River valley than was originally believed. As has been seen, the Early Neolithic Dadiwan~l cultural level found at the Qinan xian site in eastern Gansu Province lay under an early Yangshao cultural stratum. This early Yangshao cultural stratum was one of three successive Yangshao cultural layers that were found at the Dadiwan site. They are considered to belong to early, middle, and late periods. 9 The cultural assemblages of the early and middle layers were Banpo and Miaodigou types, respectively, with ceramics that were similar to other Banpo and Miaodigou wares. Material found in the late layer was related to that of the Majiayao Yangshao culture described below. The Yangshao Culture in the Upper Yellaw River Valley: The Majiayao Culture From its earliest to its latest phase, the succeeding Majiayao Yangshao culture-sometimes referred to as the Gansu Yangshao culture-continued for about two thousand 5 .

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Advances in Social Science, Education and Humanities Research, volume 96 International Conference on Humanities Science, Management and Education Technology (HSMET 2017) Development and Research of Public Art in the Construction of Xi'an International Metropolis - A case study of city sculpture Xiaofei Liu School ofArtˈXi'an UniversityˈXi'anˈ710065.China Keywords: Public art; city sculpture; Xi’an; internationalization Abstract. With the development of diversified urban construction, public art constantly becomes an essential element in modern international metropolis construction, and domestic cities carry out different forms of public art and urban construction. As the ancient city of the history and civilization, Xi'an, has a prominent role in the construction of public art, but there are still many issues to be resolved. In the present study, with a case study of Xi'an city sculpture, we aim to study the development of its public art. Introduction As an international famous tourist resort, Xi’an has a reputation of 13 Dynasties and 6 Ancient Capitals history of China. Meanwhile, it also contains profound cultural heritage. In urban construction of Xi'an city, construction of public art has a profound impact on urban history and culture, humanism thoughts and urban themes [1]. Developing investigation of Xi'an public art is the fundamental of reasonable construction of public art elements in modern urban construction. Modern international city civilization is built through investigation to determine the contents of program, the theme and direction, and means of artistic expression in the construction of public art elements. As an important form of public art, city sculpture is also a key construction content in the construction of Xi'an international metropolis.
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship@Western Totem: The University of Western Ontario Journal of Anthropology Volume 22 | Issue 1 Article 4 2014 The rC eation of Female Origin Myth: A Critical Analysis of Gender in the Archaeology of Neolithic China Shu Xin Chen McGill University, [email protected] Follow this and additional works at: http://ir.lib.uwo.ca/totem Part of the Archaeological Anthropology Commons, East Asian Languages and Societies Commons, and the Women's Studies Commons Recommended Citation Chen, Shu Xin (2014) "The rC eation of Female Origin Myth: A Critical Analysis of Gender in the Archaeology of Neolithic China," Totem: The University of Western Ontario Journal of Anthropology: Vol. 22: Iss. 1, Article 4. Available at: http://ir.lib.uwo.ca/totem/vol22/iss1/4 This Article is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Totem: The nivU ersity of Western Ontario Journal of Anthropology by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. The rC eation of Female Origin Myth: A Critical Analysis of Gender in the Archaeology of Neolithic China Abstract This essay explores and critiques the creation of female origin myths in the archaeology of Neolithic China. The first example is the debate surrounding the gender relations in the Yangshao culture. The es cond half of the paper focuses on whether or not the possible goddess worship in the Hongshan culture can shed light on the understanding of women.
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