By A. Sanguineti
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Extra resources for 200 Victorian Fretwork Designs: Borders, Panels, Medallions and Other Patterns
Archaeological finds in China are now protected by the Chinese communist government, a happy change from the times prior to World War II, when tomb robbing was a profession made lucrative by Western demand for Chinese art objects. Such thievery today would bring swift retribution in the form of a prison sentence. When and where did Chinese art have its beginning? The answer is far from simple. Environmental changes over thousands of years as well as racial and ethnic complexities in what we now call China, from its frigid north to its subtropical south, gave rise to many Chinese cultures.
I have been very careful to acknowledge all references to authors from whose works I have actually quoted, and I am deeply indebted to these valuable sources of information. It is possible, however, that I may have inadvertently omitted to specify chapter and verse in a few isolated cases, and, where this is so, I take the opportunity to offer my apologies. The main object I have kept in view has been to collect, amplify, and arrange some authentic information concerning the fundamental symbolism, in the hope that it may aid in the development of a finer appreciation of the workings of the Chinese mentality and understanding of the people.
It is easy to use. Subjects are arranged alphabetically, described in concise essays, and illustrated with crisp line drawings by Chinese artists. All pertinent terms are accompanied by their Chinese writings. The edition of William’s book chosen for this reprint is the third revised edition, printed in Shanghai in 1941. Mr. Williams, a life member of the Royal Asiatic Society, Examiner in Mandarin at Hong Kong University, Professor of Customs College, and Acting Commissioner in charge of Maritime Customs in Peiping, wrote a number of books on Chinese language and culture.