- Refers to the cultures of the continent of Asia, which is in the eastern hemisphere, and is bounded by the Pacific Ocean, the Indian Ocean, the Arctic Ocean, and is generally considered to be delimited on the west by the Ural Mountains. It also refers to the numerous islands off the coast of Asia.
- The cultures, styles, and periods characteristic of China. To specifically refer to the cultures of ancient Chine, use "Ancient Chinese."
- Representations of humans, animals, or mythical beasts, in any medium.
- Use broadly for objects associated with or used in funerary practices of any culture. Sometimes defined more narrowly as only those placed with individual human remains either at the time of death or later as part of a death rite or ceremony.
- Generally, all ware made of ceramic, which is any of various hard, brittle, heat-resistant and corrosion-resistant materials made by shaping and then firing a nonmetallic mineral, such as clay, at a high temperature. In specialized usage, it typically does not include porcelain, which is a type of ceramic ware made of a refractory white clay, or "kaolin," and a feldspathic rock, that react when fired so the clay serves to hold the shape of the object and the rock fuses into a natural glass.
- Refers to the culture, style, and period of a Chinese dynasty of the period 618 to 907 CE, a time considered one of the most brilliant in Chinese history. China flourished as a stable, consolidated empire and the resulting prosperity and patronage created a Golden Age of Chinese painting, metalwork, ceramics, music, and poetry. Chang'an, with its masterful urban planning, remained the main Tang capital and a world center. Taizong (reigned 626-649) and Xuanzong (reigned 712-756) were important Tang rulers and patrons. Buddhism remained influential although it suffered periods of persecution during the Tang dynasty. Paintings from the caves at Dunhuang and stone pagodas such as the Great Wild Goose Pagoda (ca. 652) and the Small Wild Goose Pagoda (ca. 707) in Chang'an have survived. Monumental stone sculpture of the northern provinces displays the new tendency toward fuller, more sensual figures. This tendency also found in secular Tang sculpture, both stone and ceramic. The merging of Indian and Chinese sculpture styles is seen at the cave at Mt. Tianlong, created under the patronage of Empress Wu Zetian (reigned 690-705). Painting, which flourished during the Tang, was dominated by the secular landscape tradition. Li Sixum and Li Zhaodao, father and son, and Wang Wei are three painters' names known to us; probable copies of their work exist. Wang Wei's work, influential for later artists, was intimate and melancholy while the work of Li Sixum and Li Zhaodao features the bright greens and blues of many Tang landscapes. Chinese portrait painting, begun in the Han dynasty, was refined in the Tang by such artists as Wu Daozi. Tang ceramics include sancai earthenware figurines and vessels, typically used as tomb objects, white porcellanous wares such as the well-known Xing ware of Henan province, and the jadelike Yue celadons of Zhejiang province. The use of metal oxides in underglaze decoration was developed in Hunan and Sichuanh provinces and porcelain, although not fully exploited until later, has its origins in the Tang period. Tang decorative arts were influenced by Middle Eastern and other foreign trends during the Tang dynasty, leading to new styles in ceramics and metalwork. For instance, colorful glazed earthenware objects such as ewers and rhytons were made to resemble Persian silverwork and Persian weft patterning were introduced to Chinese textiles. China, in turn, exported its pottery, silk, and printing and paper technology. The Tang dynasty was succeeded by the Later Liang dynasty.
- Elaborations constructed over or around burial sites; for simple interments in the earth, use "graves."
- Refers to female human beings from young adulthood through old age.
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This object was included in the following exhibitions:
An Appreciation of Chinese Arts in Bryn Mawr College's Collections
Bryn Mawr College
, Apr 23, 2002 – May 20, 2002
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This object is a member of the following portfolios: