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3. Spiral ornament with dragon's head and neck. Middle Chou. W. Rockhill Nelson Gallery of Art, Kansas City. Table leg or support in bronze. Late Chou. Nelson Gallery of Art. Kansas City. 4. Rockhill , 5. vjSjjIv* Bronze container, Chih type. Badalich Collection, Ian. Dress ornament in the form of a stylised dragon. Late Chou. W. Rockhill Nelson Gallery of Art, Kansas City. 6. 7. Vessel British in the form of a stylised cock. Early Museum, London. Ming period. 8. Tripod vessel. Ting type. Late Shang.

There remains, however, the problem of the origin of the forms themselves. These animals are conceived as creatures without movement and this often leads to such an extreme stylisation that the motif becomes abstract even though what might be called the realistic basis is never obscured. At times, as happens above all with Kuang objects, the animal form is identified and becomes integrated with that of the vessel; this perhaps results from a desire to 32 1 . early Ritual vessel with spout. Chou.

He considers that style 'B' was coexistent for some time with style 'A', and reveals the efforts made to give an immediate and clear meaning to the already existing geometrical decoration. The only possible exception to the theory is raised by the date of the Andronovo culture which, although fairly is still open to question. The symbolism of T'ao-t'ieh is, however, bound to the idea of formlessness and is expressed, even in stylised work, in the way already described. The T'ao-t'ieh (the traditional name, though probably incorrect) can be seen in different forms, but these do not ob- accurately estimated, scure the essential unity of its symbolic meaning.

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