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SacklerCollections(New York:Arthur M. Sackler Foundation, 1995), 3:56-79. 82. SeeSo,Eastern Zhou Ritual Bronzes, 61; Gems of China's CulturalRelics,1992 (Beijing: Wenwu chubanshe, 1992), no. 11. TheShiyuantombbelongedto a still unidentifiedmemberof the earlyHan SeeYanGenqi,ed. # aristocracy. 1,11. 84-86. GopalSukhu,"Monkeys, Emperors,andPoets:The ChuciandImages of Chuduringthe HanDynasty," in Defining Chu: Image and Reality in Ancient China, ed. ConstanceA. CookandJohnS. Major (Honolulu:Universityof Hawai'iPress, 1999), 145-63.

27Hao Jianwen sees connections between the Wang Chuzhi representation and the works of the tenth-century court painter Huang Quan f Only Luo touches briefly on the meaning of the peony as connoting wealth and nobility, but does not explain how these bird-and-flower representations function in a funerary context. In view of the sanctity of the north (or less frequently,the west) walls in tombs and of the importance of their received imagery, the question arises, how do motifs from the world of flora and fauna fit into the general intent of tomb decoration?

On suchfu talismans,see MonikaDrexler, DaoistischeSchriftmagie: Interpretationen zu denSchriftamuletten "Fu"im Daozang (Stuttgart: Steiner, 1994). See also Michel Strickmann,ChineseMagicalMedicine (Stanford:StanfordUniversityPress,2002), 123-93, esp. 140-43. Seenote 21 above. 62. Mythanksto BaiQianshenfor directingmy attentionto thispassage. ErnstH. Gombrich,TheSenseof Order:A Studyin thePsychology of DecorativeArt (Oxford:Phaidon,1979), 262-63. Nl,4h (An examinationof bird,phoenix, a: dragon,andinsectscripts)Shufayanjiu Sfi3P, 1996,3:40-80; MaGuoquan, "Niaochongshu lungao,"139-76.

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