By: C. W. B.
Volume V / Number 3
One of the most striking characters in Chinese history, ancient or modern, is Shih Huang Ti, of the Ch’in dynasty—the Napoleon of China, as he has been called—who reigned from 246 to 209 B. C. and was therefore contemporary with Hannibal and Scipio Africanus. He it was who transformed the heterogeneous group of feudal principalities […]
By: C. W. B.
Volume V / Number 3
The lately acquired stone heads of Buddha and Kuan-yin, dating, as they do, from a time when Chinese sculpture was just entering upon its period of highest development, present a number of points of great interest. They must be assigned, in all likelihood, to an epoch slightly earlier than that of the statue of the […]
By: C. W. B.
Volume V / Number 4
Illustrated By Two Tibetan Paintings In The Museum. There appears at first sight. little by which to distinguish the sacred paintings of Tibet from those of other Buddhist countries—China, Korea, or Japan. As a matter of fact, indeed, especially in matters of technique, the religious art of Tibet is essentially that of China under the […]
By: C. W. B.
Volume V / Number 4
Among the recent acquisitions of the Museum is a sword which there is good reason to believe was forged by the famous Masamune, commonly considered the greatest of Japanese swordsmiths. It will be the endeavor of this article to give a brief description of this splendid blade, prefaced by a few notes upon the history […]
By: C. W. B
Volume VII / Number 2
In planning the University Museum’s Eastern Asiatic Expedition, or, more properly speaking, reconnaissance, it was considered desirable to study the possibilities for archæological research and collecting in several distinct and widely sundered areas. Among these was, for one, the region anciently inhabited by the Yamato race, the founders of the Japanese Empire; and, in connection […]
By: C. W. B.
Volume VII / Number 3
It would perhaps be too much to say that but for the Buddhist faith there would have been no art of sculpture in China. The fact remains, nevertheless, that that art is the direct offspring of the magnificent and richly developed Indian iconography which Buddhism had adopted and adapted as the fitting vehicle for the […]
By: C. W. B.
Volume VII / Number 4
Few examples of early Chinese sculpture are more widely known than are the two Buddhist pedestals recently acquired by the University Museum. Among European authorities who have thought them worthy of particular notice have been Bushell1 and Chavannes,2 while in China itself rubbings of the designs covering their sides are in the hands of every […]
By: C. W. Bishop
Volume IX / Number 2
The Museum has recently acquired through the generosity of a patron two antique bronze vessels of such rarity and importance that it seems appropriate in describing them to give readers of the JOURNAL a brief account of the ancient art that they so admirably exemplify. One of the most fascinating of the results which are […]
By: C. W. Bishop
Volume IX / Number 2
It is becoming steadily more evident as archæological study progresses that advancement in the arts of civilized life is as a rule the offspring of the energy liberated by the impact of one culture upon another. We know now that at least two peoples had a part in the dim prehistoric beginnings of ancient Egypt. […]
By: C. W. Bishop
Volume IX / Number 3-4
Of the Antecedents of the Chinese Horse Before attempting to describe the series of reliefs so widely known as the Horses of Tang T’ai-tsung, two of which are now in the University Museum, it will be desirable to say something about the prominent part which the horse has played since the earliest times in the […]
By: C. W. Bishop
Volume XII / Number 2
Not chance alone has brought Shantung, instead of some other of China’s Eighteen Provinces, to the fore at the late Peace Conference. Since prehistoric times the region has been a pivotal one, exerting decisive influence upon the cultural development and the political destiny of all northern China. There, thanks no doubt to its fertility and […]