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Developments, for the Chou took and some of the their arts, early early Chou were used, the These do not correspond altogether art under- to political over from the conquered Shang both their rituals and Western Chou bronzes Shang prototypes. In the most cautious and Shang and ritual bronzes are indistinguishable reliable chronology therefore constitute the first phase. now in use, from their the bronzes of Towards the end of Western Chou a greater elaboration and coarseness of design, combined with the introduction of new shapes and motifs and the disappearance of others, leads to the second phase, or 'Middle Chou' period towards a (c.

Although the picture Neolithic) it is impossible to say. half a million years of human history in enormously oversimplified (particularly in regard to the shows that before the dawn of recorded history there had already emerged many of those characteristics which we the West across Central Asia, a highly bound together by instrument of man's it is ritual, organised social life : cultural ties with centred on agriculture and high standards of craftsmanship, the flexible brush as an artistic expression, the fate after death.

C. Most remarkable among the Lifan wares are the burnished dark grej- amphorae with bold rolutes curling orer the body, which are unique in the histon* of Chinese ceramics, and of which there British Museum. It is illustrated (London, 1951). Plate though wrongly dated] in lb. [32] is Leigh Ashtoo and a fine specimen in the Basil Grajr, Ckinett Art Dawn Before the of History north of Chengtu in the latter province, excavations by D. C. C. Other and more important sites in North China, notably Chengchow and Anyang, were in continuous occupation from late Neolithic times well into the Bronze Age.

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