Word: eng
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Dates: during 1970-1979
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...that unites the diverse styles and schools in this exhibition-the misty gray impalpability of Ma Lin in the 13th century with the dark stormy flood of ink from which Mu Ch'i's tiger rises, or the epigrammatic beauty of the late 15th century P'eng Hsü's plum branch-it is the pursuit of what Taoist scholars called...
...August 1950, Gen. Liu po-ch'eng moved the troops of his Southwest Military Commission into Tibet to liberate the territory which had evaded Chinese authority since the beginning of the Republic. The tenth Panchen Lama, bolstered by the Nationalists who too had always claimed the right to Chinese authority in the region, voiced his whole-hearted support for the move. Meanwhile, Tibet unsuccessfully appealed for intercession by the United Nations. In 1951, the regime paid lip service to its earlier pledges to Tibet's right to regional autonomy. But between 1952 and 1958, the Chinese fought a revolt...
...centerpiece is Princess Tu Wan's funeral shroud. Found in 1968 in a Han dynasty tomb in Man-Ch'eng, less than 100 miles from Peking, it has already become an object of legend-the Chinese counterpart (at least in Western eyes) to Tutankhamon's gold mask. This is partly due to its extraordinary substance and workmanship: a complete body-armor of 2,156 slips of green and mutton-fat jade, each no bigger than a matchbook cover, intricately sewn and bound together with gold wire. Its archaeological interest is unique: ancient Chinese texts mentioned jade burial...
...ancient demons with names - mindless Azagoth, Soggoth, Ib, Nyarlathotep and, above all, the great dread Cthulu who, in his sole appear ance, seems to be a "gelatinous green immensity" that slobbers. To recall these alien creatures from their hideous hiding places (the arctic wastes, unfathomable submarine chasms, New Eng land), the intrepid have but to practice rituals recorded in dusty, blasphemous old tomes like the Necronomicon of the mad Arab Abdul Alhazred and Von Junzt's Unaussprechlichen Kulten...
Prior to John Osborne's Look Back in Anger (1956), the image of the Eng lish that Americans absorbed from plays and films was a one-dimensional but slyly endearing caricature. The screen, in particular, was peopled with dotty aristocrats, blithering Colonel Blimps, rural eccentrics, peculiar par sons and an assortment of idiots. One knew, however, that they were Britons of the right sort; they would muddle through to the next whisky and soda...