After a period of many years, unification was the desire by all at the end of the Warring States Period. Six separate states, Han, Zhao, Yan, Wei, Chu and Qi unified with the establishment of a centralised feudal state. Although the Qin Dynasty was quickly overthrown due to tyranny, there was the implementation of a range of policies conducive to unification which had far-reaching and significant impacts on society lasting 2,000 years. The Han Dynasty followed and inherited the Qin system. In the Han Dynasty there were brilliant socio-political, economic, military, cultural and artistic achievements, and so this period occupies an important position in the history of the development of Chinese civilization. The Qin Dynasty was not long and few large tombs have been found, so little is known of the jade ware. From the Han Dynasty, much is known and representing the peak of Chinese jade ware. That is, in terms of number of pieces found, choice of materials and their design as well as the carvings. The bronze foundry industry became secondary and its scale of production was shrinking compared to the Shang and Zhou Dynasties. Gold and silver ware gradually developed to very advances stages. This book, the third in a ten-volume collection, brings to the English-speaking world a series of books from China which has been complied by an Expert Committee of the Chinese Society of Cultural Relics. There are 383 descriptions.

China's Cultural Relics provides an illustrated introduction to ancient Chinese artifacts and the preservation of these relics in modern times.

This book provides images in colour and describes Chinese relics from the primitive period, the Xia and Shang dynasties, 21st to 11th century BC.

This book, a collection of ancient Chinese cultural relics, deals with relics from Qing Dynasty, 1644 to 1911. There are two volumes dealing with relics in this period. This book contains 377 relics. The ancestors of the people who established the Manchu Qing Dynasty lived in northeast China in the territory lying between the 'white mountains and the black rivers'. After establishing their capital in Beijing. the Qing Dynasty defeated all the forces that opposed them and they quickly consolidated their frontier defences. in the nearly 300 years of the Qing Dynasty, China achieved some remarkable things especially in the fields of culture and art even though it lagged behind in many other respects in global terms. Jade ware reached a great peak in the mid Qing Dynasty and surpassed previous achievement in size, selection of materials and overall craftsmanship. Porcelain production reached its highest ever peak in this era. Jingdezhen remained the centre for production of porcelain. The period also saw the revival in the history of Chinese calligraphy. Stone inscriptions grew in popularity and a number of pioneer masters emerged and exerted a far-reaching influence. Seal character calligraphy and li calligraphy (official script) were revised again. Literati painting played a dominant role and landscape painting and impressionistic ink and wash painting were prevalent Laquer craftwork in all shapes and sizes reached a great deal level of maturity. Existing techniques were improved and others developed. Embroidery reached unprecedented heights. Silk tapestries became more and more exquisite and the production of metal bodied enamelware reached a great peak. Bamboo wood and horn carvings also were developed. Jade objects went through three stages of development. 1. Frugal period, with jade production was small and made by ordinary craftsmen and lack originality. 2. Due to a growing Qing comic strength. and a plentiful supply of jade materials the jade industry began to flourish, and became one of the high points in jade carving in China. 3. Late period of the Qing Dynasty and due to increasing corruption in society and large number of difficulties, both domestic and external, there was less appetite for large scale pieces of jade in part also due to the high cost of production. This book, the ninth in a ten-volume collection, brings to the English-speaking world a series of books from China which has been complied by an Expert Committee of the Chinese Society of Cultural Relics. There are 377 descriptions.

Worldwide research on ancient glass began in the early 20th century. A consensus has been reached in the community of Archaeology that the first manmade or synthetic glasses, based on archaeological findings, originated in the Middle East during the 5000-3000's BC. By contrast, the manufacturing technology of pottery and ceramics were well developed in ancient China. The earliest pottery and ceramics dates back to the Shang Dynasty - the Zhou Dynasty (1700 BC-770 BC), while the earliest ancient glass artifacts unearthed in China dates back to the Western Han Dynasty. Utilizing the state-of-the art analytical and spectroscopic methods, the recent findings demonstrate that China had already developed its own glassmaking technology at latest since 200 BC. There are two schools of viewpoint on the origin of ancient Chinese glass. The more common one believes that ancient Chinese glass originated from the import of glassmaking technology from the West as a result of Sino-West trade exchanges in the Western Han Dynasty (206 BC-25 AD). The other scientifically demonstrates that homemade ancient Chinese glass with unique domestic formula containing both PbO and BaO were made as early as in the Pre-Qin Period or even the Warring States Period (770 BC-221 BC), known as Yousha or Faience.This English version of the previously published Chinese book entitled Development History of Ancient Chinese Glass Technology is for universities and research institutes where various research and educational activities of ancient glass and history are conducted. With 18 chapters, the scope of this book covers very detailed information on scientifically based findings of ancient Chinese glass development and imports and influence of foreign glass products as well as influence of the foreign glass manufacturing processes through the trade exchanges along the Silk Road(s).

Presenting new studies on the chronology and iconography of Buddhist art during the Western Ch'in (385-431 A.D.) in northwest China, including Ping-ling ssu and Mai-chi shan, this book addresses issues of dating, textual sources, the five-Buddhas, and relation with Gandhara.

This book presents cutting-edge archaeological materials from Xinjiang, from the Bronze Age to the early Iron Age. Through a systematic topological study of major archaeological cemeteries and sites, it establishes chronologies and cultural sequences for three main regions in Xinjiang, namely the circum-Eastern Tianshan region, the circum-Dzungarian Basin region and the circum-Tarim Basin region. It also discusses the origins and local variants of prehistoric archaeological cultures in these regions and the mutual relationships between them and neighboring cultures. By doing so, the book offers a panoramic view of the socio-cultural changes that took place in prehistoric Xinjiang from pastoral-agricultural societies to the mobile nomadic-pastoralist states in the steppe regions and the agricultural states of the oasis, making it a must-read for researchers and general readers who are interested in the archaeology of Xinjiang.