① (46) Chu-Tsing Li, "The Role of Wu-hsing in Early Yuan Artistic Development Under Mongol Rule," in John D. Langlois, Jr., ed., China Under Mongol Rule (Princeton,1981) , 331; 360, 361．
② Hu Shih, The Chinese Renaissance: The Haskell Lectures, 1933 (Chicago, 1934) , 47．
③ Rager M. Keesing & Felix M. Keesing, New Perspectives in Cultural Anthropology (New York, 1971) , 315． Authors'italics.
④ Websters Seventh New Collegiate Dictionary (Springfield, Mass., 1963) , 315, 346．
⑤ Howard J. Wechsler, Offerings of Jade and Silk: Ritual and Symbol in the Legitimation of the Tang Dynasty (New Haven, 1985) , 19．
⑥ Edward H. Schafer, The Golden Peaches of Samarkand: A Study of Tang Exotics (Berkeley, 1963) , 10．
⑦ Jacques Gernet, Daily Life in China on the Eve of the Mongol Invasion, 1250-1276, translated by H. M. Wright (NY, 1962; Stanford, 1970) , 76-84．
⑧(24) James Cahill, The Art of Southern Sung China (NY, 1976) , 7; 6．
⑨ Basil Gray, "Introduction," in Basil Gray, ed., The Arts of The Sung Dynasty (London, 1960) , 13．
⑩(55) William Watson, Style in the Arts of China (NY, 1975) , 110; 112．
⑾ Michael Sullivan, Symbols of Eternity: The Art of Landscape Painting in China (Stanford, 1979) , 107． For different reactions, see Max Loehr, The Great Painters of China (0x-ford, 1980) , 15; and Mary Gardner Neill, The Communion of Scholars: Chinese Art at Yale (New Yotk, 1982) , 100．
⑿ Chu-Tsing Li, "The Role of Wu-hsing in Early Yuan Artisic Development Under Mongol Rule," 336; Loehr, The Great Painters of China, 197．
⒀ Quoted in Michel Beurdeley, Chinese Trade Porcelain (Rutland, VT and Tokyo, 1962) , 139．
⒁ Quoted in John Stevens, Sacred Calligraphy of the East (Boulder and London, 1981) , 133．
⒂ Chiang Yee, Chinese Calligraphy: An Introduction To Its Aesthetic and Technique (3rd ed., Cambridge, 1973) , 107; Alison Stilwell Cameron, Chinese Painting Techniques (Rutland, VT and Tokyo, 1968) , 40; Thomas Lawton et al, Asian Art in the Arthur M. Sackler Gallery (Washington, 1987) , 279．
⒃ Yee, Chinese Calligraphy, 212．
⒄(21) Li Zhiyan and Cheng Wen, Chinese Pottery and Porcelain (Beijing, 1984) , 1; 54．
⒅ Ibid., 98-106; William Watson, Tang and Liao Ceramics (New York, 1984) , 13-14．
⒆ Ibid., 218．
⒇(23) (53) Cecile & Michel Beurdeley, A Connoisseur's Guide to Chinese Ceramics (New York, ND), 161; 122; 158．
(22) Quoted in Rene Grousset. Chinese Art and Culture, trans. by Haakon Chevalier (New York, 1959) , 282．
(25) Stanley Charles Nott, Chinese Jade Throughout the Ages: A Review of Its Characteristics, Decoration, Folklore, And Symbolism (Rutland, VT. 1962) , 39． "从唐朝的朝气与生动到宋朝的含蓄与节制, 这一变化并不是突然发生的." Desmond Gure, "Jades of the Sung Group." in Gray, ed., The Arts of the Sung Dynasty, 40．
(26) Nott, Chinese Jade Throughout the Ages, 61．
(27) Lawton, et al, Asian Art in the Arthur M. Sackler Gallery, 253-269．
(28) John M. Rosenfield, "Foreword." in Nancy Zing Berliner, Chinese Folk Art: The Small Skills of Carving Insects (Boston, 1986) , 11．
(29) (38) Henry H. Howorth, History of the Mongols From the 9th to the 19th Century (4 vols, London, 1876; NY, ND), I, x; I, 214．
(30) "为了替自己的要求辩护,蒙古人求助于上天的旨意, 声称上天赋予他们的权利甚至义务, 就是将全世界置于他们的统治之下." Thomas T. Allsen, "The Yuan Dynasty and the Uighurs of Turfan in the 13th Century," in Morris Rossabi, ed., China Among Equals: The Middle Kingdom and Its Neighbors, 10th-14th Centuries (Berkeley, 1983) , 268．
(31) Luc Kwanten, Imperial Nomads: A History of Central Asia, 500-1500 A D. (Philadelphia, 1979) . 222; M. S. Ipsiroglu, Painting and Culture of the Mongols, trans, from the German by E.D. Philips (New Yotk, ND), 13; Leonardo 01schki, Guillaume Bourcher: A French Artist at the Court of the Khans (Baltimore, 1946) ,67, 78．
(32) Rene Grousset, L'Empire Des Steppes: Attila, Gengis-Khan, Tamerlan (Paris, 1939) ,383;G.F. Hudson.Europe & China: A Survey of Their Relations From the Earliest Times to 1800,(Boston, 1931) , 138, 3． f
(33) Oslchki, Guillaume Boucher: A French Artist at the Court of the Khans, 45-85．
(34) Quoted in Henry Yule, "Preliminary Essay," in Henry Yule & Henri Cordier, Cathay and the Way Thither: Being a Collection of Medieval Notices of China (Rev.ed. reprint,4 vols, Taipei, 1966) , I, 161．
(35) Ibid., 161, footnote 2．
(36) Leonard 01schi, Marco Polo's Asia: An Introduction to His "Description of the World" Called "Il Milione" (Berkeley, 1960) , 68．
(37) Yule and Cordier, Cathay and the Way Thither, II, 222．
(39) Eileen Power, "The Opening of the Land Routes to Cathay," in Arthur Percival Newton, ed., Travel ond Travellers of the Middle Ages(New York, 1926) , 155; E. Denison Ross,"Prester John and the Empire of Ethiopia," in Newton, ed., Travel and Travellers of the Middle Ages, 180-181．
(40) Ibn Battuta: Travels in Asia and Africa, 1325-1354, trans.and selected by H. A. R.Gibb (London, 1929) ,285． 关于伊本·拔图塔是否真的到过中国这一点还有疑问。见Ross E.Dunn, The Adventures of Ibn Battuta (Berkeley and Los Angeles, 1986) , 252-253．
(41) Nigel Cameron, "Marco Polo, Archetypal Tourist," Orientations (September 1971) , 47．
(42) Osvald Siren,Chinese Painting: Leading Masters and Principles. Part Il: The Later Centuries, IV,The Yuan and Early Ming Masters (London, 1938) ,5-6; Donald F. Lach,Asia in the Making of Europe: II. A Century of Wonder, Book One: The Visual Arts (Chicago,1970) , 104．
(43) Joseph Needham, "The Dialogue Between Asia and Europe," in Raghavan Iyer, ed..The Glass Curtain Between Asia and Europe: A Symposium on the Historical Encounters and the Changing Attitudes of the Peoples of the East and the West (London, 1965) , 281．
(44) "一般说来,欧洲人对东方艺术与文化的关注含有傲慢的成份,他们将它们看作是一个已经堕落的民族的往昔的冻结。”C.S. Venkatachar, "The Historical Context of Encounters Between Asia and Europe (As Seen by an Asian)," in Iyer,ed., The Glass Curtain Between Asia and Europe,49． 形成这种态度的一个原因也许是,“中世纪的欧洲文明与中国文明之间最鲜明的对比之一是,前者是石与铁的文化,而后者是木与竹的文化。”Herbert Franke, "Siege and Defense of Towns in medieval China," in Frank A. Kietman, Jr.,and John K. Fairbank,eds., Chinese Ways of Warfare (Cambridge, Mass., 1974) , 352, footnote 105．
(45) Marilyn Wong Fu, "The Impact of the Re-unification: Northern Elements in the Life and Art of Hsien-yu Shu (1257-1302) and Their Relation to Early Yuan Literati Culture,in Langlois, ed., China Under Mongol Rule, 371, 375, footnote 13．
(47) Ibid., 348; Sullivan, Symbols of Eternity, 95, 98; Grousset, Chinese Art and Culture,285．
(48) Weng, Chinese Painting and Calligraphy, xx.
(49) James Cahill, Chinese Paiting (New York, 1977) ,99, 109． Wen C. Fong, "The Yuan Dynasty: The Rise of Self-Expression," in Wen C. Fong, et al, Images of the Mind:Selections From the Edward L. Elliot Famil yand John B. Elliot Collections of Chinese Calligraphy and Painting at the Art Museum, Princeton University (Princeton, 1984) , 94．
(50) Quoted in Sullivan, Symbols of Eternity, 103．
(51) Osvald Siren, A History of Later Chinese Painting: vol. I. From the End of the Yuan.Period to the End of the Wan Li Reign C. 1350-1620 (London, 1938; New York, 1978) ,5．
(52) 据巴兹尔·格雷推测,“中国艺术实际上是世界上伟大的抽象艺术,这一点将得到证明,”Basil Gray, Studies in Chinese and Islamic Art: Vol. I. Chinese Art (London, 1985) , 7．
(54) Stephen W. Bushell, Oriental Ceramic Art: Illustrated By Examples From the Collection of W. T. Walters (New York, 1896, 1980) , 99．
(56) Chung Yang-mo, "Ceramic Wares Recovered off the Coast of Korea," Arts of Asia, 11(July-August 1981) , 105．
(57) Duncan Macintosh. "Beloved Blue and White, An Introduction to the Porcelains of the Yuan and Ming Dynasties," Orientations IV (November 1973) ,27; Danielle and Vladimer Elisseeff, New Discoveries in China: Encountering History Through Archeology, trans.by Larry Lockwood (Secaucus, NJ, 1983) , 205 ff. 威廉·沃森提到“自元代以来瓷器上大量的绘画装饰。”William Watson, Art of Dynastic China (New York, 1981) , 342．
(58) Duncan Macintosh, Chinese Blue & White Porcelain (Rutland, VT. 1977) , 18．
(59) Sherman E. Lee and Wai-Kam Ho, Chinese Art Under the Mongols: The Yuan Dynasty (1279-1368) (Cleveland, 1968) , 24, 25．
(60) Morris Rossabi, Khubilai Khan: His Life and Times (Berkeley. 1988) , 97．
(61) Chewon Kim and G. St. G. M. Gompertz, eds., The Ceramic Art of Korea (New York,1968) , 13-18; Takashi Hatada, A History of Korea (Santa Barbara, CA 1969) , 52-54．
(62) Evelyn McCune, The Arts of Korea: An Illustrated History (Rutland, VT & Tokyo,1962) , 174-182．
(63) Dietrich Seckel, The Art of Buddhism,trans by Ann E. Keep(Rev.ed, New York,1968) ,192． See also Chun-fang Yu, "Chung-feng Ming-pen and Ch'an Buddhism in the Yuan," in Hok-lam Chan and Wm. Theodore de Bary, eds, Yuan Thought: Chinese Thought and Religion Under the Mongols (New York, 1982) , 419．
(64) Victor Segalen, The Great Statuary of China, trans.by Eleanor Levieux (Chicago, 1978) ,165, 166． 瓦代姆·埃利舍夫在“跋”中说,一些元代墓雕已被发现。同上,185．
(65) R. Soame Jenyns & William Watson, Chinese Art II(2nd ed., New York, 1980) , 174-179;San Francisco Asian Art Museum, "Marvels of Medieval China: Those Lustrous Song and Yuan Lacquers," Triptych (April-May 1986) ,4; Lawton, et al, Asian Art in the Arthur M. Sackler Gallery, 253-269．
(66) Jenyns & Watson, Chinese Art II, 106 ff.
(67) Edward L. Dreyer, Early Ming China, A Political History, 1355-1435 (Stanford, 1982) ,2-4．
