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- Foreword
The Art Gallery of Greater Victoria is both proud and pleased to be able to present Images from the Tomb: Chinese Burial Figurines. The research and co-ordination has been long, complex and exciting, drawing together material and objects not seen before in a single exhibition in Canada.
Studying these ancient burial figurines, which span a period from the second century b.c. to the Ming Dynasty (1368-1644 a.d.), one is immediately impressed by the practical purpose for which they were created, and yet the simplicity and elegance of many. Made by anonymous craftsmen and artisans, these burial and funerary objects were meant to care for and protect the deceased in the afterlife. Collectively they depict the religious and social customs of their contemporary eras, and include animals, buildings, food, guard figures, musicians and dancers. Such details as those of period dress are apparent. Through the archaeological work of the past decades we are increasingly aware of artistic concerns as use of colour, seen in the remaining traces on some pieces and the glazes on others.
We must remember, however, that the aesthetic criteria was not a primary consideration to the creators. Indeed aesthetic qualities as we perceive them and our concept of �beauty� were unknown to these societies. None of the objects were created purely as a �fine art,� nor are they political or emotional statements of individual artists as we know today. Yet they all are executed with sensitivity, a creative inspiration, and achieve their expression using aesthetic means. It is interesting to see this similarity with the art of the Egyptians, Mesopotamians, and the early Greeks and Romans, much of which, too, was created for tombs and burial. This exhibition traces an anonymous, yet rich sculptural tradition and provides us with an �overview� of stylistic development in a still relatively unknown cultural past.
I would like to thank Barry Till and Paula Swart for undertaking and accomplishing this significant and important exhibition and publication. I would like to add my appreciation too to all who assisted them. The Art Gallery of Greater Victoria is grateful to the Museums Assistance Programme of the Department of Communica�tions for funding this project, and to all our lenders and donors in assisting us with individual works. Mrs. R. W. Finlayson and Mr. Brian McElney have been particularly generous with their donations.
Patricia E. Bovey, Director
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