the most
distinctive variations are due to religious influences, to Buddhism and
Confucianism. No doubt, as always, these religions gave a tremendous
impetus to artistic activities of all kinds. But they also did a lot of
harm – Buddhism by its insistence on a dogmatic symbolism, always a
bad element in art; and Confucianism by its doctrine of ancestor
worship, which was interpreted in art as crude traditionalism, requiring
the strict imitation of ancestral art. But in spite of these
limitations, perhaps in some sense because of them, Chinese art
maintains its vitality, reaching its highest development in the Song
period, a period which corresponds roughly in time, and even more
strikingly in mannerism, with the early Gothic period in Europe.
c newsom on 26 Mar 09From the site: "An English curate and the author of several books on religious subjects, Edward Topsell is best remembered for The Historie of Foure-footed Beastes and The Historie of Serpents. Born in 1572, Topsell attended Cambridge before becoming a clergyman in the Church of England. He published The Reward of Religion in 1596, and Time's Lamentation in 1599. In 1604 Topsell became curate of St. Botolph, Aldersgate, a position he held until his death. In 1607, Topsell published his magnificent illustrated work Historie of Foure-footed Beastes, Describing the True and Lively Figure of Every Beast. The book was closely based on the Historiae Animalium of Swiss author Conrad Gesner. In 1608 he followed it with The Historie of Serpents; Or the Second Booke of Living Creatures, which also drew on Gesner's Historiae. The woodcuts for both of Topsell's books came directly from Gesner's pages. Topsell authored one more religious work in 1610 called The Householder. He served as vicar and chaplain in various areas of England until his death in about 1638."
