Chinese military dictionary, Chinese-English, English-Chinese.

Mode of access: Internet.

Bowl Emulating Chinese Stoneware

Pottery, Iran, Abbasid; 2 23/64 in.x 7 63/64 in.; earthenware; painted in blue on opaque white glaze

Catalogue of the celebrated and well-known collection of Assyrian, Babylonian, Egyptian, Greek, Etruscan, Roman, Indian, Peruvian, Mexican and Chinese antiquities,

"Translation of an extract from the Archaeolgische zeitung ... by Edward Gerhard ... 1851. Mr. B Hertz's collection of gems": xxiv p.

Objets d'art anciens de la China : ceramique ... pierres dures, meubles et paravents, tapis, bronzes, sculptures, peintures.

At head of title: Liquidation des biens Worch ayant fait l'objet d'une mesure de Séquestre de Guerre.

A collection of rare old Chinese porcelains collected by Sir William Bennett /

Mode of access: Internet.

Hand-book of a collection of Chinese porcelains,

At head of title: The Metropolitan Museum of Art.

Substance and symbol in Chinese toggles; Chinese belt toggles from the C. F. Bieber collection. Text by Schuyler Cammann. Illustrated with photos.

Photocopy.

Selections from Oriental objects of art collected by Worcester Reed Warner, most of which have been presented to the Cleveland Museum of Art.

Descriptive letterpress on versos facing the plates.

Landscapes with the Chinese Literati Su Shi and Tao Qian, right screen

Nagasawa Rosetsu; 5 ft. 7 41/64 in.x 12 ft. 2 47/64 in.; one of a pair of six-fold screens, ink on gold leaf paper

Landscapes with the Chinese Literati Su Shi and Tao Qian, left screen

Nagasawa Rosetsu; 5 ft. 7 41/64 in.x 12 ft. 2 47/64 in.; one of a pair of six-fold screens, ink on gold leaf paper

French furniture : Chinese porcelains & decorative objects : paintings & drawings, tapestries, rugs, old sevres, meissen & Dresden porcelain, silver, linens & laces, china : property from the estate of the late John Vernou Bouvier, New York, by order of the legatees, the present owners : property of the estate of the late Mrs. Elmer E. Smathers, New York, by order of the Guaranty Trust Company of New York, administrator : and property of Oscar F. Gavrilovitch, former Consul-General from Yugoslavia in New York and other owners : public auction sale, March 11, 12 and 13 at 2 pm.

"Sale number 944."

"Ten thousand Chinese things." A descriptive catalogue of the Chinese collection, in Philadelphia. With miscellaneous remarks upon the manners, customs, trade, and government of the Celestial empire.

A private collection, made by Nathan Dunn and deposited in the Philadelphia museum, whence it was removed to London in 1842. cf. History of Philadelphia, by J.T. Scharf and T. Westcott, 1884, v. 2, p. 948-949.

The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan

For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations.^ Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education. The purpose of this study was to determine the effects of teaching Chinese painting appreciation on the artistic achievements of junior high school students in Taiwan. The subjects were seventh grade students who had never learned Chinese painting before. Two classes were randomly chosen from each target school and were designated as the experimental or control group. Instruction in all groups was delivered by the researcher himself. At the end of the study, data about subjects' related knowledge, creative technique, and feeling toward Chinese painting were systematically collected and analyzed.^ The result of the study was that students in the experimental group were more motivated to learn Chinese painting than were the students in the control group. Students in the experimental group made better progress in the development of creative skill, had better critical ability, and demonstrated better performance in Chinese painting form, set up, stroke and color of related knowledge than did students in the control group. It was therefore concluded that Chinese painting appreciation education can promote better artistic achievement and that this approach should be used in other areas of art education. ^

Reframing Chinese animation: from classicism to postmodernism in post-1949 non-commercial Chinese animated films

This thesis focuses on Chinese non-commercial animated films produced from 1949 to date, with the aim of remapping and reframing Chinese animation in the light of existing theories, critiques, and frameworks drawn from studies in animation, film, and screen media. I suggest that Chinese animation has experienced three aesthetic transformations since 1949, primarily influenced by traditional Chinese culture, by Western modernist art and literature and, most recently, by postmodernism, respectively. Thus, the research traces and thoroughly investigates these three distinctive phases of Chinese animation in chronological order, from the classical period (1950s– 1980s) to modernism (1980s–2000s) and postmodernism (after 2000s). More in detail, I first rethink and re-evaluate the success of classical Chinese animation and the Chinese school of animation and, at the same time, I explore the influence of the political situation of the time on Chinese animation. Through careful analysis of A Da (1934–87) and other Chinese animators’ practices and theory, then, I argue that a remarkable modernist transformation took place in Chinese animation between the 1980s and 2000s, mainly driven by Western modernism and the Chinese “cultural fever” movement. Finally, through a discussion of the latest non-commercial animations produced after 2005, and especially those of Bu Hua (1973– ), for the first time I classify and theorize contemporary Chinese animations within a postmodern framework. By reframing existing views and broadening the scope of the analysis to encompass new areas and frameworks, this thesis aims to provide the reader with a comprehensive and systematic understanding of post-1949 Chinese animation and to offer an original contribute to scholarship, also working as a starting point for further research in this area.