Product Description
tan & black decorative (yin/yang symbol on cover) full cloth oblong 4to ~ 4º (quarto ~8"x10").
large book.
dustwrapper in protective brodart book jacket cover.
fine cond.
binding square & tight.
covers clean.
edges clean.
contents free of markings.
dustwrapper in vg+ cond.
chips & tiny tears along the edges, thin piece missing rear top, some yellowing on spine, not price clipped (see photos).
nice clean copy.
no library markings, store stamps, stickers, bookplates, no names, inking, underlining, remainder markings etc~.
first edition.
first printing (date on title pg.
, no additional printings indicated).
translucent decorative tissue guard frontis.
242p+colophon.
140 photo illustrations of artifacts , 11 of which are in full color.
errata slip laid in.
chronology.
oracle bones.
ceramics.
bronze.
tomb figures.
sculptures.
painting.
jade.
lacquer.
gold and silver.
textiles.
art history.
art books.
archaeology.
history of china.
~ "Preceding each category in this publication is an essay describing the Museum's most important examples in the medium.
Descriptions of individual objects are more technical and intended for the serious student.
Since each work is clearly illustrated in reproduction, descriptive details are confined to what might not be visible in the photographs.
Publication and other bibliographic references can guide those interested to further study, and to the bases for our identifications of these examples.
The present publication does not attempt to offer an archaeological or art historical survey of China.
Rather, it is arranged to convey the major strengths of our holdings.
Ceramics are pre~eminent and include the greatest number of examples.
Bronzes, though less numerous, are among the most ancient and rarest of Chinese artifacts.
The Museum's examples are distinquished by virtue of having come alimost directiy from their sites of discovery, for the most part.
Tomb figurines are now prized by Western collectors for their immediacv of representational effect, and by Chinese for their vivid expression of historical mores.
At the time the Museum acquired most of its collection in this category, few Westerners even knew what these small sculptures were, while Chinese looked askance at their collection as a result of the desecration of ancestral burials.
Other categories are well represented, though with less numerical and, sometimes, aesthetic strength.
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