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By Dana Arnold, David Peters Corbett

This significant other is a set of newly-commissioned essays written by means of top students within the box, supplying a accomplished creation to British paintings history.

• A generously-illustrated selection of newly-commissioned essays which supplies a entire advent to the heritage of British art
• Combines unique study with a survey of current scholarship and the nation of the field
• Touches often of the historical past of British artwork, from 800-2000, with expanding awareness paid to the sessions after 1500
• offers the 1st finished advent to British paintings of the eighteenth, 19th, and 20th centuries, some of the most energetic and cutting edge parts of art-historical study
• offers intensive the foremost preoccupations that experience emerged from contemporary scholarship, together with aesthetics, gender, British art’s courting to Modernity, nationhood and nationality, and the associations of the British artwork world

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Extra info for A Companion to British Art: 1600 to the Present

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96. In a superb Northern Song kesi in the Palace Museum collection (WSWG, 56–9, fig. 14), for instance, the flight of cranes through clouds seems to have been associated with a Daoist cult of immortality. The crane is not common in Song ceramics (Wirgin 1979, 204). 93. Williams 1974, 404. 94. Li ji, ch. 7, 9 (quoted in Williams 1974, frontispiece). indd 37 19/6/09 13:27:10 38 ISLAMIC CHINOISERIE 95. Rawson 1984, 90–1. The other animals are: the Green Dragon of the East, the White Tiger of the West and the Red Bird (the Phoenix) of the South.

11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. indd 34 Allsen 1997. Liu 1988; 1998. Foltz 1999. For further information about the early history of silk production in China, see Zhao 1999, 20–3, 38–43. Han shu 1962, ch. 94, 3743–835 and ch. 96, 3871–932. For a recent study of silk fragments found in Palmyra, see Stauffer 1996; Schmidt-Colinet, Stauffer and Al-As ad 2000, 58–81. For a Chinese textile found in Dura-Europos, see Mahler 1966, fig. 94. The main route between China and Roman Orient during the first two centuries ran through Central Asia to the Indus valley; going directly to the sea coast along the Indus or making a detour through Mathura, it connected with the Roman world by sea (Liu 1988, 19).

WSWG, 116. Similar coiled dragon motifs are recognised in a portrait of a king of the Tangut Empire in Cave 409 at Dunhuang (Whitfield et al. 2000, 29). 80. This is one of the examples brought from Egypt to Russia in the late nineteench century, and this type of textile is thought to have been produced for the Mamluk market (Piotrovsky and Pritula (eds) 2006, 96–7). ) (2006), cat. no. 90). 81. Rawson 1984, 139. 82. g. , figs 125b–d. 83. Ibid. 139. 84. See, for the development of ruyi patterns, Cort and Stuart 1993, 35–7.

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