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- know there was a large amount of trade between southeast China and the Southeast Asian countries during this period and undoubtedly there would have been a great deal of ivory traded. There are a few interesting Buddhist connections in Chinese literary sources of ivory carvings coming to China from Southeast Asian countries. For example, in 484 CE an Indian monk named Nagasena requested, on behalf of the King of Funan (southern Cambodia area) requested Chinese assistance in a dispute with Champa (central Vietnam) and brought gifts of two ivory stupas (Buddhist towers). In 529 and 530 the countries of Panpan and Dandan (in the northern Malayan peninsula) sent embassies to the Liang dynasty emperor in Nanjing carrying gifts, which included ivory carvings of images and stupas.
Other than a few ivory combs and rulers excavated from the Sui (581-618) and Tang (618-907) dynasties, ivory carvings are also scarce. According to Tang records, high officials from the first to fifth rank could carry ivory �hu� tablets as was done in the ancient Han period.
One of the best sources for Tang carved ivories is the Shosoin repository in Nara, Japan. The great treasury of Nara Emperor Shomu (r. 724-49) contains a large number of Tang period artifacts that include ivory inlay musical instruments: flutes and a pipa; two dated ivory tablets; ivory game pieces and chessboards and, boxes inlaid with ivory, rulers and sword hilts and sheaths. In 1955 an ivory travelling shrine was discovered in Gansu province. The sculpture, thought to be early Tang, is in the shape of an elephant with a stupa on its back and with small human figures. When separated in two halves, there are Buddhist scenes carved in relief in the interior.
Despite the fact that surviving ivory artifacts from the Tang dynasty are not abundant, it can be surmised from the surviving pieces in archaeological finds, items in the Shosoin, and mentions in historical records and poetry that the art of ivory carving must have enjoyed considerable popularity during this dynasty. The Tang period was known as �a golden age for fine arts�, and it was probably true for ivory carvings too.
In the middle of the ninth century the Arab trader, Suleyman, mentions in his writings that ivory was an important commodity imported by the Chinese at Canton, and that Chinese women were fond of wearing ivory combs. A tenth century Arab geographer named Marsudi recorded (983) that Arab traders brought African ivory to the country of Oman, where traders transhipped it to India and China. He further stated the Chinese held ivory in high esteem and made ivory palanquins, which were used by royal personages and officials of high rank. By the end of the tenth century ivory trade at the Chinese port of Quanzhou had become so valuable that it was made a government monopoly.
Few ivory carvings have been attributed to the post-Tang periods of Five Dynasties (907-960) Song (960-1279) and Yuan (1271-1368) dynasties or for that matter to the non- Chinese dynasties of Liao (906-1125) and Jin (1115-1234), which occupied North China. Song records mention the existence of an ivory section under the office of Wensi Yuan, which looked after 32 workshops producing fine articles for daily and ceremonial use of the palace and officials. Only a very small number of ivory pieces have been assigned to the Song dynasty.
During the Mongol occupation of China under the Yuan dynasty (1271-1368), an atelier was set up for the carving of ivory and rhinoceros horn. Vessels, implements, ornaments and inlaid furniture were produced for the imperial court. There is even
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