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ARCH.2003.39, Rendition: 806459
This image displays a vintage newspaper clipping from the Christian Science Monitor, dated 1973, mounted or taped onto a beige, three-hole-punched folder or sheet.
The clipping features an article titled “These swift, joyous figures”, by Enid Saunders Cardin, which focuses on early Chinese Buddhist sculpture.
Key components of the article:
Main Image: At the top, a large, detailed black-and-white photograph shows a carved stone sculpture of a “Flying Apsara” — a celestial being or heavenly dancer from Buddhist iconography. The figure appears to be in dynamic motion, with flowing drapery and an expressive, smiling face. The caption below reads: “‘Flying Apsaras’ — Chinese sculpture, N. Ch’i or earlier”. Credit is given to “Courtesy of the Fogg Art Museum, Harvard University, Cambridge, Mass.”
Text Content: The article discusses the period between 386 and 581 in China (the Six Dynasties), a time of political instability following the fall of the Han Dynasty. It explains how Buddhism, entering China via trade routes, was embraced by the Chinese as a source of spiritual comfort and artistic inspiration. The text describes how Chinese artisans adapted Indian artistic models (particularly from Gandhara and Mathura) to create a uniquely Chinese style, evident in the graceful, “swift, joyous” figures like the Apsaras. The article also touches upon cave temples, such as those at Yungang and Dunhuang, and notes the blending of Indian and Chinese artistic influences.
Secondary Image: At the bottom right of the article, a smaller photo shows a standing figure, described in the caption as a “‘Standing adoring figure’ — Chinese sculpture, N. Ch’i or earlier”. This is a full-length, serene statue, likely of a Bodhisattva. It is also credited to the Fogg Art Museum.
Overall Presentation:
The clipping is clearly preserved for reference or study, mounted onto the folder with visible tape on the corners. The tone of the article is scholarly and appreciative of the art’s historical and cultural significance. The visual focus remains on the expressive and dynamic stone carvings of early Chinese Buddhist art.
In summary, this is an archival clipping offering a cultural and historical overview of early Chinese Buddhist sculpture, illustrated with photographs of two significant stone carvings — a dynamic “Flying Apsara” and a serene “Standing adoring figure” — both from the Northern Qi dynasty or earlier, sourced from the Fogg Art Museum.
The image appears to be a page from a publication, possibly a newspaper or magazine, dated "Christian Science Monitor 7th 1973." The page contains images and text discussing various Chinese sculptures. Specifically, there are two sculptures depicted:
"Flying Apsaras": This is a Chinese sculpture from the Northern Ch'i dynasty or an earlier period, as noted in the text. The image shows a relief sculpture of a flying figure, likely an Apsara, which is a celestial being in Hindu and Buddhist art. The figure is depicted with flowing garments and a dynamic pose, suggesting movement and grace.
"Standing Adoring Figure": This is another Chinese sculpture, also from the Northern Ch'i dynasty or an earlier period, as mentioned in the text. The image shows a seated figure, possibly a deity or a king, depicted in a meditative or reverent pose. The figure is shown with intricate details in the clothing and posture, indicating a high level of craftsmanship.
The text accompanying these images provides historical and cultural context, discussing the Six Dynasties period in China and the influence of Indian and Buddhist art on Chinese sculpture. It also touches on the artistic and stylistic aspects of these sculptures, noting their blend of Chinese and Indian influences.
This image is a vintage newspaper clipping from the Christian Science Monitor dated July 7, 1973. The clipping is titled "These swift, joyous figures" and discusses Chinese sculpture from the Northern and Southern Dynasties period, particularly focusing on the art and cultural exchange during that era.
The top section of the clipping features a photograph of a stone carving titled "Flying Apsaras," courtesy of the Fogg Art Museum at Harvard University. The text describes the historical context of the Six Dynasties period in China, between 265 and 581 AD, and how this time was marked by both turmoil and artistic prosperity. The text delves into the influence of Indian art on Chinese sculpture, particularly in the depiction of apsaras, which are celestial nymphs in Indian mythology.
The bottom section of the clipping includes another photograph of a "Standing adoring figure," also from the Fogg Art Museum. The text continues to discuss the cultural and religious exchanges between India and China, particularly through the spread of Buddhism and its impact on Chinese art and philosophy.
The article is written by Enid Saunders Candlin and provides a detailed exploration of the artistic and cultural influences during the Six Dynasties period, highlighting the fusion of Indian and Chinese artistic styles.
The image depicts a page from a magazine featuring an article titled "These swift, joyous figures." The article appears to be about ancient Chinese sculptures, possibly from the Shang Dynasty, which lasted from 1600 to 1046 BCE.
The main visual element is a photograph of an ancient Chinese sculpture. The sculpture is circular and appears to be made of stone or ceramic. It features intricate carvings and designs that are characteristic of Chinese art from the period. The sculpture depicts a figure in a dynamic pose, suggesting movement and joy, which aligns with the title of the article.
Below the photograph, there is a caption that reads "Flying Apsaras," indicating that the sculpture is likely a depiction of an apsara, a type of celestial nymph in Hindu and Buddhist mythology often portrayed in dance or with musical instruments.
The article text, partially visible, discusses the significance of these sculptures in Chinese culture and history. It mentions the artistic techniques used and the cultural context in which these sculptures were created. The text also highlights the influence of Buddhism on Chinese art, noting the spread of Buddhism from India to China and its impact on artistic themes and styles.
The magazine page has a vintage appearance, suggesting it may be from the mid-20th century. The layout is typical of magazine articles from that era, with a prominent photograph, a bold headline, and descriptive text. The background of the page is beige, and the text is printed in black ink.
Overall, the image provides a glimpse into the rich artistic heritage of ancient China, showcasing the beauty and cultural significance of its sculptures.
A page from the Christian Science Monitor dated July 1973 features an article about the Buddhist sculpture. The page has a black-and-white image of a Buddhist sculpture, possibly a stone carving of a deity or a religious figure. The sculpture appears to be intricately carved with various patterns and designs. The article discusses the history and significance of Buddhist art in China, particularly during the Han Dynasty. It mentions the influence of Buddhism on Chinese culture and the spread of Buddhist ideas through trade and cultural exchange.
The image shows a page from a publication titled "Christian Science Monitor", dated April 7, 1973. The page features an article titled "These swift, joyous figures", which discusses ancient Chinese sculpture.
Central Image:
Text Content:
Additional Illustrations:
Layout and Design:
Overall, the image presents a rich blend of visual art and textual analysis, offering insight into the cultural and artistic heritage of ancient China.
This is an image of a newspaper article titled "These swift, joyous figures" from the Christian Science Monitor dated 7/7/73. The article includes two photographs of Chinese sculptures.
The text of the article appears to discuss artistic and cultural aspects of early Chinese sculpture, particularly from the N. Chi or earlier periods. It references cultural influences, religious significance, and the stylistic elements of these works. The article prominently highlights the elegant and joyous qualities portrayed in the sculptures.
The layout is on a brown background or scrapbook page, with holes on the left side suggesting it may have been archived in a binder or similar collection.
This image shows a scrapbook page featuring two black-and-white photographs of ancient Chinese sculptures, along with an article about them.
The top photograph depicts a circular bas-relief carving titled "Flying Apsaras," described as a Chinese sculpture from Northern Ch'i or an earlier period. It shows a figure, likely a celestial being or apsara, with flowing garments and dynamic, swirling patterns surrounding it, giving a sense of movement and grace.
The smaller photograph at the bottom right shows another Chinese sculpture called "Standing Adoring Figure," also from Northern Ch'i or an earlier period. This figure is more elongated and stylized, standing upright with detailed, flowing drapery creating vertical lines.
The article between and below the images is titled "These swift, joyous figures." It discusses the historical context of the sculptures, noting their origin during the Six Dynasties period in China (roughly 220–589 AD). The text explains how Buddhist missionaries influenced Chinese art and how the sculptures reflect a blend of cultural and religious symbolism. It highlights the figures’ lively, swirling patterns and graceful forms, associating them with spiritual and artistic traditions.
The page is mounted on plain brown paper, with a handwritten header in red ink at the top reading "CHRISTIAN SCIENCE MONITOR 7/7/73," indicating the source and date of the article. The images are credited to the Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
This is a photo of a newspaper clipping from the "Christian Science Monitor," dated 7/17/73. The main image at the top shows a circular bas-relief sculpture titled "Flying Apsaras," which is a Chinese artwork from the Northern Qi dynasty or earlier. The relief carving depicts a celestial being or spirit, known as an apsara in Hindu and Buddhist mythology, who appear to be floating or flying amidst cloud-like forms, suggesting movement and lightness.
Below the main image, there is a headline reading "These swift, joyous figures" which likely refers to the depiction of the apsaras in the sculpture. The remainder of the clipping consists of a newspaper article with several paragraphs of text that are too small to read in detail, but they appear to discuss the history and significance of the sculpture, as well as other aspects related to Chinese and Buddhist art.
On the right-hand side, towards the bottom, there is a smaller image titled "Standing adoring figure," which is also a Chinese sculpture from the Northern Qi dynasty or earlier. This figure stands with hands pressed together in a gesture of devotion or prayer. The context of this image suggests it belongs to the same discussion on Chinese art and religious figures.
The images are mounted on a board or a folder with a brown border showing on the left side, which also includes a hole punched through the material, seemingly for filing or organizational purposes.