Academic literature on the topic 'Jade art objects'

Jade products that imitate ancient Chinese art samples are a special kind of objects that, in their form and decor, are close to or likened to more ancient works of arts and crafts. The article explores the artistic form and characteristic features of imitations of ancient jade products of the Qing era, presented in the collections of Russian museums and the Palace Museum of China. The object of the study are objects of Chinese art of jade carving, which are in the collection of the Palace Museum (Beijing), the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences (St. Petersburg) and the State Museum of Oriental Art (Moscow), where the use of imitations of ancient objects was discovered. Artistic analysis of jade imitations allows us to conclude that the works of the Qing era were more complex and diverse in form, decor and carving techniques compared to Han products, while the craftsmen, although they managed to preserve the classical sophistication of objects, lost the severity and solemnity of Han jade. As well as the art history analysis of the works, one can see that the forms and decors of jade objects are the product of aesthetic consciousness. The novelty of this study lies in the fact that the varieties and features of imitations of ancient jade during the Qing Dynasty are summarized, and the huohuan technique in jade processing is confirmed. This may be of interest to researchers in related scientific fields.

In a variety of cultural contexts, primitive ideas invariably corresponded to the socio-cultural background of the era, as a result of which many legends and religious rituals associated with jade were formed. The subjects of the Chinese art of jade carving are the fruit of centuries–old cultural and historical experience. They are an expression of the spirit of national culture in the form. Thus, the subject of this study is the Chinese carved jade from the collection of the Museum of Anthropology and Ethnography Peter the Great (Kunstkamera) of the Russian Academy of Sciences (hereinafter - the Kunstkamera). The subject of the study are objects of Chinese jade carving art, which are in the collection of the Kunstkamera. The main conclusion of this study is that the subjects made in jade carving were associated with mythology and religion, and their artistic expression reflected the jade culture of different historical periods and representations of different social strata. The novelty of the research lies in the fact that the article focuses on determining the age of jade products by analyzing their plots, and also confirms that ancient artists, through geometric shapes and dynamism of the pine tree image as one of the central images of plant plots, enhanced the transmission of spatial perspective in the art of jade carving. This may be of interest to researchers in related scientific fields.

Abstract Objects carved of jade often were placed in Han-dynasty burials of people of high rank. This article focuses on a small, shield-shaped (or “heart-shaped”) pendant frequently found near the deceased. The development of the type is examined through its appearance in tombs dating to the early Western Han through the end of the Eastern Han and extending into the immediate post-Han period. The typology of the pendant and its surface decoration are analyzed. This type of jade pendant resurfaced in the Song dynasty, but its most significant resurgence is during the Ming and early Qing dynasties, although by then its decorative features, as recorded in illustrations in books, appear to be more important than its use in burials. The article also explores the foundational years of collecting Chinese art in the West by individuals such as the sinologist Berthold Laufer, as well as other scholars of Chinese art, as they began to understand the shield-shaped pendant's origin as a Han-dynasty artifact and to explore its significance.

Painted ceramics occupy an important place in ancient Chinese art and are the result of creative activity of people of primitive society. A large number of Neolithic patterns on ceramics are similar to those signs and symbols that were made on jade products of the same period. Such patterns resembled drawings made by hand and represented realistic and abstract ornaments, plant, zoomorphic patterns, etc. Thus, the subject of this study is the so-called "jade" patterns on painted ceramics of the Neolithic era. The object of the study are objects of painted ceramics of the Neolithic era in China. Special attention is paid to the consideration of the specifics of ceramic products, as well as the features of their decors. The semantics of images on objects of Chinese painted ceramics is complex and ambiguous. The study revealed that it is associated with the development of human thinking, people's understanding of natural phenomena, awareness of the changing seasons, as well as the emergence of animism and totemic culture. These patterns had different interpretations, while they were not only a way of expressing the feelings and experiences of primitive people, but also a way for them to record important events from life, similar to modern memoirs. Thus, the novelty of this article is its comparative nature, manifested in the comparison of ornaments of painted ceramics and ancient Chinese jade products.

Multi-media artist and performer Ursula Brookbank has created the She World Archive to organize and display an array of what she calls inspirational “relics, ephemera and everyday objects from the lives of women.” Brookbank has searched estate sales, alleyways, and secondhand shops for scrapbooks, paintings, sewing notions, and myriad household items used and crafted by women. She repurposes many of the items for her own installations, video art, photographs, and immersive performances that strive to capture “the energy held in personal residue.” The collaborating authors present a visual profile highlighting the She World Archive as a tactile collection of women's things that evoke private histories, accompanied by a short essay that contextual-izes the images from the archive in terms of the recent focus on affect in archival theory. The photographs are also accompanied by captions that highlight Brookbank's present and past projects employing objects from the collection.

The object of the study is a Chinese screen. The subject of the study is the characteristic features of the Chinese screen based on the material of the Hermitage collection. During the consideration of the topic, such issues as the degree of study of the issues under consideration, the connection of the screen with the fields of fine and decorative arts are traced and analyzed. The analysis of seven items from the collection of the State Hermitage Museum is carried out. The analysis of rare samples of the Chinese screen allows us to identify the characteristic features of this subject, the specifics of the development of the Chinese screen in the XVIII – XIX centuries, as well as to discover its relationship with the spheres of decorative, applied and fine arts of China. The author examines in detail the artistic features of the objects, their design characteristics, the use of various materials – porcelain, wood, metal, jade, the content of calligraphic inscriptions appearing on the objects in the context of the aesthetics of the epoch and socio-cultural space. The research involves the systematization of information related to collecting, studying, and describing the screen in Russian museum practice and theory. Traditional methods of art criticism and historiographical analysis are used; a combination of formal and iconological methods allows to create a reliable idea of the works of art under consideration, identify meaningful and formal features; the historical and cultural method allows to clarify the nature of the patterns of screen development. The scientific novelty of the research primarily consists in the fact that for the first time an analysis of the Chinese screen in the collection of the State Hermitage Museum is carried out, a detailed description and a comprehensive art historical analysis of a number of previously unexplored objects are given. The systematization of Russian publications devoted to the problem of the screen is carried out, in particular, offering a description and analysis of certain screens. The study clarifies and expands existing ideas about the Chinese screen, clarifies the attribution of a number of objects in the collections of the State Hermitage Museum. It is concluded that the objects presented in the Hermitage collections are of considerable variety and give an idea of the variety of techniques and materials for creating screens in China in the XVIII – XIX centuries, allow us to see the connection between the art of creating screens with the field of decorative and applied arts and painting. The screen of this period is a work of art with high artistic value. The aesthetics of the screen is connected not only with the current trends in the development of decorative, applied and fine arts, but also with the socio-cultural context.

At present, the urgent task is to preserve and broadcast the cultural values of different peoples. From this point of view, symbols of Chinese benevolent culture can be seen as an important form of cultural communication. Three symbols of good wishes were chosen as the objects of the study: dragon, lotus and phoenix. Despite the prevalence of these images, there are practically no works in the literature that comprehensively, from different points of view, would describe the semantics of each of them. Thus, the goal is to reveal the history of these symbols, their meaning and traditions of use in a benevolent culture. The author identified and systematized the main images and meanings of the three symbols of Chinese culture. Based on the results of the work, the author came to the conclusion that all three symbols have a number of hidden images and meanings that can vary depending on the way they are depicted, and also have opposite meanings when combined with other symbols (for example, a dragon combined with a phoenix).
 Purpose. The article considers the symbolism of the benevolent culture of the PRC, as one of the connecting threads in the development of Chinese identity. The symbolism is illustrated by examples of some of the most common images used in jade art – the dragon, lotus and phoenix. The author aims to reveal the history of the use of these images, their symbolism and traditions of use in a benevolent culture.
 Methodology. The research is based on hermeneutic, comparative and axiological methods.
 Results. The results of the work are that the author identified and systematized the main images and meanings of the three symbols of Chinese culture: the dragon, the phoenix and the lotus.
 Practical implications. The results of the study can be used in the educational process when teaching courses on the history and culture of China, including history, art history, oriental culture, sinology, etc. The study of the cultural values of China, in particular, the symbolism of auspicious ornaments, allows you to broadcast, preserve and transmit the history and traditions of the art of the Middle Kingdom.

AbstractThis work addresses varying interpretations of the production, circulation, and consumption of jades in the Maya area from the Preclassic through the Postclassic periods (600 b.c.–a.d. 1697). Traditionally, exchange of jades has been seen as a dyadic relationship between elites (gifting and tribute). Some have argued for gradations of value in the circulation of jades, which probably circulated in both elite and commoner spheres. More recent research argues that jade blanks were commoditized because they could be standardized. In this article, we evaluate this last claim, concluding there is no evidence for standardization and commodification of jade blanks, and a dearth of jade blanks in archaeological deposits. We critique the expectation that commodities in some nonindustrial economies should be standardized, and make suggestions about what kinds of jade objects, if any, have greatest potential to become commodities in the Maya area.

The Japan Art Documentation Society (JADS) was founded in April. Inspired by developments both within Japan and abroad, and by the IFLA Section of Art Libraries, JADS has set out to embrace the common interests of library and museum professionals as represented by an integrated concept of “art documentation”. Essentially, the Society represents a collective response to the challenge and potential of the computer - to the benefits it can bring to, and the methodologies it requires of, the organising of art objects, art images, and art information. (The Society’s “prospectus”, from its first Newsletter, is appended).

本論文的目的是確定中國新石器時代至青銅時代大型玉料開料片切割技術。玉是一種堅硬的石頭，在礦物學上只有軟玉和硬玉才是真正的玉。其他所有看似玉的珍貴石料由於包含不同的化學成分，故此只能被稱為美石。玉石工藝源於石器製作技術，當中包括打製和磨製技術。本論文集中於研究摩擦技術。片切割的運作是通過摩擦作用從而磨掉玉料的一部分。玉器上的三個常見的切割技術包含片切割，柔性線切割和旋轉切割（陀切割和鑽孔）。這些技術都應用在玉石和珍貴的美石 。中國考古出土大量的大型長薄片狀的玉器和珍貴的美石製品。這些成品，半成品和廢品都開展示出證據不同的切割技術的表現。然而，如何進行大型開料的片鋸切技術至今仍然沒有具系統性的說法。考古學家和科學家們都各自提出了不同的見解。 本文通過實驗考古片切割大型蛇紋石以及其他切割實驗比較與文獻研究，探討不同種類的切割技術。實驗結果與考古出土文物會進行比較和分析。此外，解玉砂和水在鋸切過程中發揮著重要的作用。提高工件的切割的效率，而水同時發揮降溫作用看到，以防止由不斷摩擦產生的過熱引起破損。這項研究還包括研究選定的帶有片切割跡的三星堆玉器標本。這些文物提供了一個很好的線索來比較從實驗考古所產生的切割痕跡。<br>The purpose of this thesis is to determine how large-scale blade sawing on jade was performed during the Neolithic Period till the Bronze Age in China. Jade is an ornamental hard stone that specifically applied to nephrite and jadeite, the metamorphic rocks. Those look-a-like jade and other gemstones can only be called precious hard stones due to their different chemical components. Jade work originated from flint knapping techniques, which included percussion and rubbing of the lithic technology. This research concentrates particularly rubbing techniques. Blade sawing is an abrasive motion that through rubbing (polishing) which leads to part of workpiece being worn away. The three common sawing techniques on jade are blade cutting, string cutting and rotary cutting (wheel cutting and drilling). These techniques are applied to both jade and precious hard stones. The Chinese archaeological field works unearthed numerous of large-long-flat-thin shaped jade and precious hard stone artifacts. These finished artifacts, semi-finished items and debitages indicate the strong evidence of different sawing technique performances. However, how blade-sawing technique was performed still uncertain. Archaeologists and scientists suggested different methods. In order to examine large scale-blade sawing technique, this thesis through experimental archaeology on sawing serpentine to simulate the operation of large scale blade sawing along with literature review of other sawing experiments. Experiment results along with the archaeological context and distribution of artifacts are analyzed. Furthermore, sand, an abrasive agent, and water play important roles in the sawing process. Abrasives increase the effectiveness of sawing on workpiece, while water cool down the saw itself to prevent breakage caused by over heat from continuous rubbing. This research also includes studying the selected specimens from Sanxingdui Site with blade sawing evidence. These artifacts provide a good clue to compare the cut marks from the experimental object.<br>Detailed summary in vernacular field only.<br>Cheung, Yu Ling.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.<br>Includes bibliographical references (leaves 96-103).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts also in Chinese.<br>Abstract --- p.ii<br>Abstract (Chinese version) --- p.iii<br>Acknowledgments --- p.iv<br>Table of Contents --- p.v<br>List of Tables --- p.vii<br>List of Figures --- p.viii<br>Chapter Chapter 1 --- : Jade Sawing --- p.1<br>Chapter 1.0 --- Introduction<br>Chapter 1.1 --- Definition of jade --- p.2<br>Chapter 1.1.1 --- Nephrite --- p.3<br>Chapter 1.1.2 --- Jadeite --- p.4<br>Chapter 1.1.3 --- Serpentine<br>Chapter 1.2 --- Sawing and jade sawing --- p.5<br>Chapter 1.3 --- Abrasives --- p.7<br>Chapter 1.4 --- A brief history of the studies of Chinese jades --- p.9<br>Chapter 1.4.1 --- The first stage --- p.10<br>Chapter 1.4.2 --- The second stage --- p.11<br>Chapter 1.4.3 --- The third stage --- p.12<br>Chapter 1.5 --- The previous studies of the Chinese jade works --- p.13<br>Chapter 1.5.1 --- Mou YougKang<br>Chapter 1.5.2 --- Zhang JingGuo and Chen QiXian --- p.15<br>Chapter 1.5.3 --- Tang Chung --- p.18<br>Chapter 1.6 --- The previous studies of jade/stone works in rest of the world --- p.20<br>Chapter 1.6.1 --- Asia-Pacific<br>Chapter 1.6.1.1 --- Indian<br>Chapter 1.6.1.2 --- Maoris --- p.21<br>Chapter 1.6.2 --- Americas<br>Chapter 1.6.2.1 --- Aztecan --- p.22<br>Chapter 1.6.2.2 --- Mayan<br>Chapter 1.6.2.3 --- Costa Rican --- p.23<br>Chapter 1.6.2.4 --- Incan<br>Chapter 1.6.3 --- Middle East --- p.24<br>Chapter 1.6.3.1 --- Mesopotamian<br>Chapter 1.6.3.2 --- Egyptian --- p.25<br>Chapter 1.7 --- Methodology --- p.26<br>Chapter 1.8 --- Thesis organization --- p.29<br>Chapter Chapter 2 --- : Blade Sawing Experiment on Serpentine --- p.31<br>Chapter 2.0 --- Introduction<br>Chapter 2.1 --- Tested objects and equipment<br>Chapter 2.2 --- Experiment procedure --- p.38<br>Chapter 2.2.1 --- The first cut<br>Chapter 2.2.2 --- The second cut --- p.43<br>Chapter 2.3 --- Detachment and tested objects observation --- p.48<br>Chapter 2.4 --- Experiment procedure (cont.) --- p.53<br>Chapter 2.4.1 --- The third cut<br>Chapter 2.4.2 --- The fourth cut --- p.55<br>Chapter 2.5 --- Results --- p.57<br>Chapter Chapter 3 --- : Studies of Jade Artifacts from Sanxingdui Site --- p.60<br>Chapter 3.0 --- Introduction<br>Chapter 3.1 --- Assemblage --- p.61<br>Chapter 3.1.1 --- Specimen from Pit 1<br>Chapter 3.1.2 --- Specimen from Pit 2 --- p.79<br>Chapter 3.2 --- Statistical Presentation --- p.87<br>Chapter 3.2.1 --- Length of specimens<br>Chapter 3.2.2 --- Width of specimens --- p.88<br>Chapter 3.2.3 --- Thickness of specimens --- p.89<br>Chapter 3.2.4 --- Relationship between length and width --- p.90<br>Chapter 3.2.5 --- Relationship between length, width, and thickness --- p.91<br>Chapter 3.3 --- Analysis and Discussion --- p.92<br>Chapter Chapter 4 --- : Conclusion --- p.93<br>Chapter 4.0 --- Discussion and Conclusion<br>Bibliography --- p.96<br>Bibliography of Chinese Text --- p.100<br>Bibliography of Online Text --- p.102<br>Chapter Appendix 1 --- Dimensions of Assemblages --- p.103

許曉東.<br>"2001年6月"<br>論文 (哲學碩士)--香港中文大學, 2001.<br>參考文獻 (leaves 112-114)<br>附中英文摘要.<br>"2001 nian 6 yue"<br>Xu Xiaodong.<br>Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001.<br>Can kao wen xian (leaves 112-114)<br>Fu Zhong Ying wen zhai yao.<br>Chapter 第一章 --- 遼代玉器硏究的回顧與考古材料 --- p.（1)<br>Chapter 第一節 --- 硏究的緣起 --- p.（1)<br>Chapter 第二節 --- 硏究的回顧 --- p.（3)<br>Chapter 第三節 --- 考古材料 --- p.（6)<br>Chapter 第二章 --- 遼代玉器的製作與使用 --- p.（13)<br>Chapter 第一節 --- 玉器的製作 --- p.（13)<br>Chapter (1) --- 遼代手工業概況 --- p.（13)<br>Chapter (2) --- 多層次的生產組織形式 --- p.（18)<br>Chapter (3) --- 製作技術 --- p.（22)<br>Chapter 第二節 --- 玉器的使用 --- p.（22)<br>Chapter (1) --- 朝廷用玉 --- p.（23)<br>Chapter (2) --- 日常用玉 --- p.（27)<br>Chapter (3) --- 賞賜與貢奉 --- p.（29)<br>Chapter (4) --- 朝聘往來 --- p.（30)<br>Chapter (5) --- 佛教用玉 --- p.（32)<br>Chapter (6) --- 喪葬用玉 --- p.（33)<br>Chapter 第三章 --- 遼代玉器的形制分析與分期 --- p.（40)<br>Chapter 第一節 --- 形制分析 --- p.（40)<br>Chapter (1) --- 玉帶 --- p.（40)<br>Chapter (2) --- 碗 --- p.（43)<br>Chapter (3) --- 杯 --- p.（45)<br>Chapter (4) --- 瓶 --- p.（47)<br>Chapter (5) --- 盒 --- p.（48)<br>Chapter (6) --- 組佩 --- p.（49)<br>Chapter (7) --- 肖生玉器 --- p.（53)<br>Chapter (8) --- 帶T形、心形墜之項飾 --- p.（55)<br>Chapter (9) --- 胸飾與臂飾 --- p.（57)<br>Chapter (10) --- 分髮簪、珠鏈、瓔珞 --- p.（59)<br>Chapter (11) --- 轡飾 --- p.（60)<br>Chapter (12) --- 飛天、佛塔、舍利罐、斧錘形器、金剛杵、海螺、法輪 --- p.（61)<br>Chapter (13) --- 水盂、硯、圍棋子、臂韛、嘎拉哈 --- p.（64)<br>Chapter (14) --- 花冠形飾、葉形飾、彎月形飾、三角形飾片、玉竹節… --- p.（65)<br>Chapter (15) --- 璧、玦、環、勾雲形器、玉錢、帽形飾、器柄 --- p.（66)<br>Chapter 第二節 --- 分期 --- p.（67)<br>Chapter (1) --- 早期 --- p.（68)<br>Chapter (2) --- 中期 --- p.（69)<br>Chapter (3) --- 晚期 --- p.（70)<br>Chapter 第四章 --- 遼代玉器與唐、宋、金玉器之比較 --- p.（73)<br>Chapter 第一節 --- 遼代玉器之特色 --- p.（73)<br>Chapter (1) --- 選材 --- p.（73)<br>Chapter (2) --- 工藝 --- p.（74)<br>Chapter (3) --- 文化構成 --- p.（75)<br>Chapter 第二節 --- 與唐代玉器之比較 --- p.（75)<br>Chapter (1) --- 器形 --- p.（75)<br>Chapter (2) --- 玉雕工藝與表現技法 --- p.（79)<br>Chapter (3) --- 對金銀器的借鑒 --- p.（82)<br>Chapter 第三節 --- 與宋代玉器之比較 --- p.（83)<br>Chapter (1) --- 鏤雕、淺浮雕技藝的吸收 --- p.（83)<br>Chapter (2) --- 寫實藝術風格的借鑒 --- p.（85)<br>Chapter (3) --- 仿古器的製作 --- p.（86)<br>Chapter (4) --- 中原傳統吉祥意象的接受 --- p.（86)<br>Chapter 第四節 --- 與金代玉器之比較 --- p.（89)<br>Chapter (1) --- 雕刻技法 --- p.（89)<br>Chapter (2) --- 題材 --- p.（90)<br>Chapter 第五章 --- 相關問題的探討 --- p.（97)<br>Chapter 第一節 --- 玉器發展的新機遇 --- p.（97)<br>Chapter 第二節 --- 多元文化因素的融合與民族特色的淡化 --- p.（100)<br>Chapter (1) --- 多元文化因素的融合 --- p.（100)<br>Chapter (2) --- 民族特色的淡化 --- p.（104)<br>Chapter 第三節 --- 歷史定位 --- p.（106)<br>Chapter 第四節 --- 硏究展望 --- p.（108)<br>附錄<br>附錄一參考書目 --- p.（1)<br>附錄二遼、五代、北宋、金紀年對照表 --- p.（2)<br>附錄三遼代出土玉器一覽表 --- p.（3~1)<br>附錄四圖版目錄 --- p.（4)<br>附錄五彩色圖版說明 --- p.（5~1)<br>附錄六黑白圖版 --- p.（6~1)<br>圖錄七彩色圖版 --- p.（7)

Despite of the historical significance of Six Dynasties (220--589)---a turbulent time between Han and Tang Dynasty---research on jades of the period remains a neglected overlooked topic. Short of systematic studies, our understanding of the functional change of jades from religious rituals to daily life and decoration is greatly lacking. The current thesis studies jades excavated from tombs and collected in museums, by identifying their dates, characteristics, and styles through comparison and stylistic analysis, and discusses the use of jades through three centuries of change.<br>The thesis begins with an introduction of important jade finds from 1949 to 2009, followed by three chapters (chapter 2--4) illustrating the jade culture of the Six Dynasties. Chapter 2 is a case study of a jade pendant set. This examination provides important implications on the stylistic origin and changes of jades in the Six Dynasties. Chapter 3 explores the cause of functional differences in jades produced and used by Chinese and non-Chinese people and their influences on Tang Dynasty jades. Chapter 4 discusses ingestion of jade as a religious quest for immortality under the impact of Daoism. The final chapter concludes the thesis with an investigation into the scarcity of jades from this period to define the significance of Six Dynasties jades in the broader history of Chinese jades.<br>褚馨.<br>Adviser: Jenny F. So.<br>Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: .<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2010.<br>Includes bibliographical references (p. 192-206).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Chu Xin.

Despite the fact that there has been an enormous amount of jades excavated from the Western Han tombs of Chu Princes, Xuzhou in Jiangsu province, little scholarly literature has been focused on these artefacts. Based on archaeological findings, this thesis selects some significant jade objects as the focus of attention, including jade pendants, jade vessels, jade weapons, jade suites and other burial jades. As the role and value of jade is varied in the hierarchy of material within different cultural and historical context, the changes in its functions and meanings, to some extent reflects the changes in politics, economy, and society. Through tracing their origins, the identity of the owners and examining the changes in material and society, this study attempts to reveal the cultural and social value embedded in these objects, and in doing so to reconstruct the changes in material concepts and aesthetic ideologies in the Han periods.<br>On the basis of the achievements have hitherto in Han jade study, the present study is expected to shed light on our understanding of tomb culture and its relation to the society from a broader and more comprehensive perspective. Aside from placing specific types of jade into an accurate period or investigating their functions and sources, this study will read the object by cross reference to ancient textual material.<br>Using jade, a particular category of art objects, as the point of entry, this study seeks to explore and question the issue of materiality and identity within the context of tomb art, and the wider issue of cultural and social practices in the Han Dynasty.<br>林巧羚.<br>Submitted: 2010年11月.<br>Submitted: 2010 nian 11 yue.<br>Adviser: Jenny F. So.<br>Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: .<br>Thesis (Ph.D.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (p. 355-396).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Lin Qiaoling.

1Lothar von Falkenhausen, Chinese Society in the Age of Confucius (1000-250 BC): The Archaeological Evidence (Los Angeles: Cotsen Institute of Archaeology, University of California, 2006).<br>Furthermore, differentiation of jades used among different social classes is also considered throughout these discussions. Finally, this research concludes with the discussion of the discourse of the existence of regional differences of jade from the Eastern Zhou period; the outcome of the "Restructuring" and the characteristics of jade excavated from the Tomb of Marquis Yi of Zeng. This research is the only in-depth study of the Marquis Yi's jades known to date and should fill a major gap thirty years after their excavation.<br>Lothar von Falkenhausen proposed that a political movement occurred around 600 B.C., which resembled the Late Western Zhou Ritual Reform (circa 850 B.C.). He entitled this movement "the Middle Springs and Autumns Ritual Restructuring." 1 This "Restructuring" was advocated by a group of rulers of local polities who wished to strengthen their newly established kingdoms and reinstate social order through the restoration of religious and ritual ceremonies of the Western Zhou period. The "Restructuring" was characterized by a shift of social hierarchy and a change in religious content which had significant impact on people's lives in Eastern Zhou society. The main intention of this research is to find out the characteristics of jades from the Eastern Zhou Period and their relationship with the "Restructuring".<br>The focus and starting point of this study is a group of jades excavated from the tomb of the Marquis Yi of Zeng (died 430 BC). This undisturbed tomb yielded nearly three hundreds pieces of jade; they were well preserved and were highly representative for their remarkable quality and workmanship.<br>The third section will look at the issues surrounding the use and understanding of archaic jades during this period. The "Restructuring" advocated the restoration of religious cult and ritual of Late Western Zhou period, which lead to the employment of archaic jade and motifs borrowed from bronzes as potent political symbol and legitimacy. The fourth section discusses the ways in which the emergence of new religious ideologies affected the manufacturing of jades for burial. The belief of the afterworld and the existence of soul affected the production of burial jades in terms of functions, form and style. These burial jades show that the religious transformation of the Qin and Han Dynasty was, in fact, originated during the Warring States Period.<br>This investigation proceeds from four major perspectives. The first section studies how the set of sumptuary rules in the ceremonial system established after the "Western Zhou Ritual Reform" have been restored by the ruling class after the "Restructuring". This research has revealed that a new ceremonial system has been established after the "Restructuring" to justify users' political and social status. The second section examines the changing roles of jade in everyday contexts after the "Restructuring", from the perspectives of its value, function, and significance in society. The research has shown that although the feudal system has collapsed gradually with rapid social mobilization, jades were mostly confined to the upper class during the entire Eastern Zhou period. Their marvelous craftsmanship and enormous size were used to display users' political power, extraordinary taste and wealth.<br>邱嘉汶.<br>Adviser: Jenny F. So.<br>Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: .<br>Thesis (doctoral)--Chinese University of Hong Kong, 2010.<br>Includes bibliographical references (p. 255-315).<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Abstracts in Chinese and English.<br>Qiu Jiawen.

自清代吳大澂《古玉圖考》以來，中國玉器研究便與社會、禮制等相關聯，隨著20世紀下半葉良渚文化、紅山文化、興隆窪文化等遺址史前精美玉器的發現，玉器研究也逐漸從傳統金石學轉向考古學研究的方向，集中於聚落或墓葬研究。<br>源於石器研究領域的操作鏈方法為玉器技術研究提供了新的方向和視角。它注重動態性、持續性和完整性，將靜態遺存轉變為動態過程，還原某一特定的生產流程，通過比較不同群體的技術系統還原其背後社會、認知層面的異同。<br>操作鏈方法應用於玉器研究主要可以從聚落和作坊遺址兩個角度展開，本文以後者為重，選取環珠江口地區的白芒遺址個案分析，將操作鏈概念應用於玉石飾物作坊研究中，並進而尋找環珠江口地區不同遺址之間存在的生產消費關係，以及環珠江口地區作坊遺址所代表的技術與文化特徵。<br>Since Wu Da-zheng’s Catalogue of Ancient Jades (Gu yu tu kao) in the Qing Period, research of Chinese jades has largely focused on analyses of their social and ritual significances. In latter half of the 20th century, excavations in Liangzhu, Hongshan, and Xinglongwa culture sites discovered many prehistoric jades. These important discoveries gradually shifted ancient jade studies to an archaeological approach, focusing on the settlement and burial contexts of the jades.<br>The use of the Chaîne Opératoire (French for "operational sequence") method in lithic studies has provided us a new research perspective and direction in the study of jades. This method pays attention to the full life history of the jades, from production to consumption and abandonment, which is treated as a dynamic and continuous process. Furthermore, it allows us to analyze the social and cognitive dimensions of the jade users through comparisons of the jades’ production technologies and use wear.<br>This paper applies the chaîne opératoire method to study jades by analyzing related settlements and lapidary workshops, especially the latter. Using the lapidary workshop at Pak Mong site on Lantau Island as the main case study, this study will examine the production and consumption of the Pearl River Delta region, and discuss the technological and cultural characteristics that these lapidary workshops represent.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>Detailed summary in vernacular field only.<br>温雅棣.<br>Thesis (M.Phil.) Chinese University of Hong Kong, 2014.<br>Includes bibliographical references (leaves 77-88).<br>Abstracts in English and Chinese.<br>Wen ya di.

Employing an alternate to Jane Bennett’s New Materialist approach, this chapter deploys Bill Brown’s notion of the “meta-object,” that is, an object that reflects on its own status as an object. Brown’s concept informs this chapter’s reading of Melvin Tolson’s long poem, Harlem Gallery. Tolson promotes the innate value in Black art as it manifests in individual objects. These objects capture the social struggles of African Americans at the same time they reveal their own tendencies as art objects capable of effects independent of their creators. As the chapter draws to a close, Tolson’s anticipation of Postmodernist tendencies in the long poem is examined, particularly a sense of play and an intense self-reflexivity.

This chapter first proposes, using language indebted to Jane Bennett, Ian Bogost, and Michael Saler, that the allure of the Gothic and the fascination it provokes inheres at least in part in its staging of a peculiar sort of enchanted world—in particular, a world in which the line between subject and object becomes muddled and obscured. The milieu of the Gothic narrative is one of animate objects—of things that acquire mystery, depth, and often life of a sort—and of de-animated subjects, people who are treated like or become things. It then extends on this premise by exploring how objects in general acquire “Gothic thing-power” through a consideration of cursed things, objects as conduits, and “inspirited things.” The chapter concludes with close attention to ominous matter in David Lynch and in Stephen King’s novel Needful Things.

Anna Jameson’s Diary of an Ennuyée, first published in 1826, follows an unnamed narrator, a dispirited female traveller, who moves through the locales of France and Italy, surveying the objects of the Grand Tour. In the reflective space of her diary, the ennuyée begins to synthesize this material world she moves in, to understand herself as part of that world of objects, and to challenge the art viewers and artists who instead perceive materiality from a distance. Following Jane Bennett’s proposition of the ‘active, earthy, not-quite-human capaciousness’ of matter, this essay argues that the diarist recognizes and contemplates the unexpected vibrancy of the materials that she encounters. The narrator demonstrates that art writing should be more than an absolute formal assessment of quality; instead, she shows how artifacts reveal their capacity to unsettle human viewers in unexpected ways and to shape networks composed of things from diverse spaces and times.

Abstract Carlson (1977) developed an account of the behavior of bare plurals using a sorted intensional logic. The set of entities is partitioned into three sorts: kinds, objects, and stages. Objects belong to the familiar sort of entity known from traditional logic. Names like Jane Austen and Al Gore, and common noun phrases like that dog are taken to have the set of objects as their denotation space.

This chapter introduces theme of the ending roads and reimagining streets. It illustrates how streets are not unmovable and unchangeable objects, discussing the approaches of thinkers like Le Corbusier and Jane Jacobs. It provides structure to the manuscript and discusses and how each chapter will be framed by a theme followed by case studies on how planners, engineers and citizens can “kill the street”.

Abstract The introduction begins Indigenuity’s story of the enduring, widespread, and active presence of Native craft in American literary history and archives. As Native artistry and authorship have continued as living and adaptive practices so too has American literary history’s orientation to those practices. The introduction does so through a pairing of objects: a poem by Ojibwe author Jane Johnston Schoolcraft and a basket created by an unknown Odawa woman. Both are literature, and both are craftwork. Each braid scriptive and physical components to express beauty, memory, and meaning. Each is the handiwork of a nineteenth-century Anishinaabe creator living on the waters of the Great Lakes, immersed in a network of relationships between peoples, objects, and places. Both objects reside now, just as they did then, in settler colonial collections, continuing to structure relationships, including with non-Native literatures and material craft. Together, they emblematize the enduring orientation of American literatures to Native ways of making and being on Indigenous lands. It is that enduring orientation that Indigenuity seeks to discern.

The Introduction provides an overview of the whole book, previewing its major case studies on Samuel Johnson, Frances Burney, Walter Scott, and Jane Austen. It raises issues and topics that recur throughout the book’s argument: mess turned to some purpose as the normal condition of the draft literary manuscript; manuscript as evidence for a discipline called textual forensics, exposing either a unifying consciousness behind the printed page or the text’s relations to itself. It argues that manuscripts have multiple lives both before and after print, raising issues of property and ownership. Manuscripts are ‘curious’ objects: that is, objects of reverence and of knowledge, serving both magical and evidential purposes. They are also artefacts whose aesthetic dimension becomes apparent over time and as they assume new significance, inside the collection, beyond that of a tool for writing and transmission.

Chapter 4 looks at how objects have been assembled into narratives of the scene of writing, conventionally composed in microcosm of the author’s chair, desk, pen, ink, and paper as witness to the act of writing. It explores what we have invested in the scene of writing, how it bears on the construction of the figure of the author, and how chairs, desks, and desk furniture come to be conceived, valued, represented, and staged as the ‘home’ of writing. It investigates (amongst other important instances) the long-standing celebrity of Shakespeare’s chairs and Jane Austen’s desks as a prehistory to the more recent display of Daphne du Maurier’s desk at Jamaica Inn in Cornwall.

Stan Brakhage was perhaps the most original and celebrated figure in the history of American avant-garde cinema. He was also a tormented man who traced his internal conflicts and primal rage to a troubled, unhappy childhood. This chapter considers how the circumstances of his early life formed the artist’s personality, and argues that Brakhage found a way to weave even the most neurotic aspects of his character into the fabric and fugal design of his films. The latter part of the chapter focuses on Tortured Dust, the last film he made about his first family, the objects of his art and his rage, concentrating primarily on his tense relationship with his two sons. Edited while he was also dictating an “autobiography” to his first wife Jane, the film reflects the mournful fallout of the loss of his first family.

Multi-agent systems (MAS) are a powerful technology for the design and implementation of autonomous intelligent systems that can handle distributed problem solving in a complex environment. This technology has played an important role in the development of data mining systems in the last decade, the purpose of which is to promote the extraction of information and knowledge from a large database and to make these systems more scalable. In this chapter, the authors present a clustering system based on cooperative agents through a centralized and common ERP database to improve decision support in ERP systems. To achieve this, they use multi-agent system paradigm to distribute the complexity of k-means algorithm in several autonomous entities called agents, whose goal is to group records or observations on similar objects classes. This will help business decision makers to make good decisions and provide a very good response time by the use of the multi-agent system. To implement the proposed architecture, it is more convenient to use the JADE platform while providing a complete set of services and have agents comply with the specifications FIPA.

A community-based learning object repository supports the sharing and collaboration of learning object development within discipline or topic area communities. The repository is built using an object-oriented method and implemented using JADE, an object-oriented technology platform. The repository is a software system aimed at improving the creation, collection, quality assurance, and ultimately the accessibility of learning objects. The initiatives regarding learning objects and the double blind review process for research publications are the two key influences on the learning object repository design. The repository is a significant advance on existing learning object technology as 1) it is built using an object-oriented method and platform including the database; typically learning object collections are stored in relational databases, and 2) it incorporates an automated submission and double blind peer review process before learning objects are made public. The use of the repository by the learning object creators, reviewers, moderators, administrators and educators will determine the success of the product.