Monster maker

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Monster maker

Eddie iii Davis

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A Thesis submittedtothe

Faculty

of

The Collegeof

Imaging

Arts and Sciences

In

Candidacy

fortheDegreeof

MASTEROF FINE ARTS

MONSTER MAKER

By

Eddie Davis III

(Please type) Bruce Sodervick Chief Advisor ; ; : : : : -Date: Luvon Sheppard (Please type) Associate Advisor ----=.,-~-:---(Signature) Date:

-;#j/C,V

Associate Arlvisor

Dr Tom Iightfoot ___ (Please type)

Date:

(Signature)

Department Chairperson . -=D,o_n_A_r_d-..,.--a.:.-y _

(Please type)

(Signature)

Date:

/

I,

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hereby (grant, deny) permission to the Wallace Memorial Library ofRlT to reproduce my thesis in whole or in part. Any reproductions will not be for commercial use or profit.

OR

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,

prefer to be contacted each time a request for reproduction is made. Ican be reached at the following address:

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Date:

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I. Introduction 1

II. Main Body:

A. Monsters 5

B. Dragons 6

C. DreamsandHeroes 7

D. Installation 9

III. Conclusion 10

IV.

Body

ofWork 12

V. Endnotes 14

I. INTRODUCTION

My

artworkhasalways displayedqualities ofthe

fantastic,

quite_simply, Iliketo

make monsters. Thesetake theformofdistortedortransformedhuman

figures,

or

familiar informationthatisjuxtaposedand presentedinanunfamiliar mariner. For

mythesis Iexplored_{the reasons,} bothpersonaland _{cultural,behind my}creationof

monsters. Withinthe

body

of work generatedfor_{this purpose,}Iintendedtofocus

specificallyintheareasofsurface and_texture, andhow_theyrelatedto theconceptof

"skin."

I chosethis theme_{for my}thesis workbecause I feltthatitwould afford methe

possibilityto further investigate essential qualities relatedtoall of_myartwork andfar

beyondthefieldof sculpture.

My

artworkhasalwaysbeen

figurative;

representational even atitsmost abstract. _{Earlier in my}graduate_studies, Ihadcome

torecognize a

duality

in_mywork: pieces seemedto evoke responses ofboth humor

andfear. Iwantedtoknowthereasons_whymywork evokedthesereactions. Ibegan

toponder,"What dotheseworks representto_myself and toothers."

Atthe same

time, I beganto refine_myuse of_color,whichhadalwaystended toward the

saturated,

"retina-searing

palette";I wantedtodo "morewith

less",

Iwantedthe form

oftheobjectsto _carryas much emotion asthesurface.

Lastly,

I hadcreatedan

increasing

number of piecesthatdealtwiththemes_{concerning my}

identity

as an

African-American,atopic thatisrichand_painful, yet_{inseparable frommyself as an}

artist. Ineeded toinvestigatethese themesfurther. Itiswiththese_preliminary

documentationof_{mythoughts,observations,}processes and experiencesof_mythesis

work, attheRochesterInstituteofTechnology.

Oneof_myearliest_art-makingmemoriesisof

lying

onthefloorand

drawing

on a

cuttingboardas Iwatched

Saturday

_morningcartoons. Thisisimportantforseveral

reasons.

Primarily

because itwas

during

thesetimes thatIestablishedthelinkwith

the television set, amediumthathascometo_{influence my}workas an adult. Science

fiction and

fantasy

adventure serieswere some of_{my first}contact with monsters.

These beingsexistedinanalternate_reality,theywere

"other-worldly";

_researching

theseprograms fueled myownimaginationand encouragedmeto create

imaginary

realmsinthemanner of artist such as WillliamBlake, HeironymousBoschand

J.R.R. Tolkien. Televisionis alsowhereIsaw_{my first rap}musicvideo-a profound

experience fora_{young black}male. Fromtheseexperiences Igainedbothpositive

andnegativeimpressions ofAmericansociety, as well asa sheerlove forthecreative

process ofhip-hop. Ispeak now ofthetechniqueof_sampling,inwhichdisparate

musicalsounds-_{suchas an alto saxophone anda cell phone}

ring

tone-_are

digitally

collagedinto asonic masterpiece. Withthis technique(analogous_{to my}own process

of sculptural_{assembly) I began experimenting}with_manyofthesculpturesfor my

thesis.

Television_{has influenced my}art as much astheworkof_anyother_artists, and

providedthesourcefor myinvestigations. Intheprocess of_researchingartistsfor

mythesis

development,

Ifoundmyself tobemost compelled

by

thedevelopmentof

artistspersonallives. Ratherthan_{searching for}artists whodealtwith similar_themes,

Thiswas a_conscious,perhaps even selfish_effort, but Iwantedthe developmentof

mysculptural experimentationto occurspontaneously; asfree aspossiblefromthe

influencesof_anyspecific artist workthatIhadseenbefore.

Certain logic ledmeto _studythelivesof variousAfrican-Americanartists,my

predecessors. I speakofmensuch asWilliam

Edmonson,

JacobLawrence, Romare

BeardenandMartin Puryear. Althoughthesemen all usedifferentmediafortheir

expression: _{stone, paint,} collage/ mix_-media, andwood_{respectively, they}haveall

achieveda certainlevelofsuccessinafieldthathas been_{traditionally}

"exclusive"(somewould_sayracist and chauvinist). Thesubject oftheirrace is

inseparable fromtheir art, I

believe,

andthrough theirskill_theyhavebeenableto

explorethistheme.

They

have beenable toinvoke

fear,

pride, empathyand anger.

Most

importantly,

_theyhaveallbeenabletoexpressthemselveswithahigh level of

abilitythatis bothaproduct_of,yetirrespectiveoftheirskin color. Ican_{only hope}

that_mycareer will emulatethesuccessoftheseindividuals.

ThetimeI spent_{experimenting}with sculpture for mythesiscanbesplitinto

threedistinctperiods. I_{began creating}thefirst

body

of_work,as Ioften

do,

by

gatheringmaterials andsketching. Hereisadescriptionofthematerials explored

throughoutthisprocess andtheirpersonal significance. Itestedplywoodto create

hand like

forms,

toshapethemIused

laser-cutting

_technologyinconjunction with

experiencefrom aprevious employer. Next IexploredPlaster_{gauze, along}with

paper; itbecamea skinthatgave a visual_unityto_mystructures. Ifound it both

appropriate andironicthatmaterials_{traditionally}usedtoheal and repair wounds were

potential surface medium. Paperhas a

long history

as an artmaterial, andisflexible

as well. _{In myapproach,}paper_pulpwaspouredoverfoammoldsto achieve carapace

and shell-like structures. Iwas ableto _employseveraltypes ofindustrial

foam,

a

toxic materialintermsofbothexposure andmanufacture, yet_veryversatileinits

application. Iwas able_{to obtain, recycled,} surplusinsulationthathad beenpouredin

bulbous,

globular forms (notunlike_organs)

Lastly,

Iexploredthepotential of

Bamboowhichreflects_{my love}of_manyaspects ofAsianculture: anime',

kendo,

Zen

and calligraphy. Itisa

fundamentally

lightand_strongmaterialandbecamethebasis

for manyof_mysculptural armatures. Muchlike African Americanculture,Asian

culture has beenviewed attimesas

"monstrous"

by

Americanculture as awhole and

Iintended forthebambooto echothis.

Thesculptures of_{my first group}of experiments are similarinthat_theyare all

abstract physical structuresthatpossesshuman hands. Iintendedthephysical

structuresasmetaphors forthe_{way human beings}act, alone ortowards others. For

example, a pieceentitledTree ofLife. Atree-likeform spouts limbsthatendin

grasping appendages. In another.Soul Cage, grasping,claw-likearms formalattice

ofbarsthatmake cage walls. Thesetwoworks areintendedas visual metaphors for

the_{way in}whichhumanbeings bothnurture and restraineach_other,respectively. In

this initialseries of seven piecestherewerebothrepresentational and

non-representationalelements,makingtheworksboth shocking andfamiliar.

Originally,

Ihad intendedthem tobe displayedupon pedestalsinthe traditionalmannerfor

displaying

Sculpture.

However,

upon

development,

itwas evidentthat thisartwork

finally

displayed. This formatalso emphasizedthequalities oflightand shadow, and

gavethepieces a_{subtle, strange,} animated quality.

II. MAIN BODY

A. MONSTERS

Monstersarenotreal. The

Minotaur,

the

Dragon,

theDevil,all ofthese examples

existinstories created

by

humanbeings. In many_{respects, these}charactersare

createdtorepresentphenomenathat causeusconfusion orfearashumanbeings. We

have beenconditioned, as

Americans,

toassociate_manynotionsof good and evil

withthe qualities oflightand

darkness;

thatwhich is bad is

by

nature

"dark." ' We

use expressionslike "BlackFriday" or"Black

magic"

or"HeartofDarkness"to

denote

bad,

unpleasantthings. Asan

African-American,

which atone_{time meant,}

"colored",

at anothertime meant

"black",

Ihave alwaysregardedthis_way of_thinking

with skepticism. _{This may be}reasonfor mypersonal_{affinity formonsters;} i.e. dark

characters(Iwas alsobornonthe

day

before

Halloween.)

In

beginning

thesecond

body

ofwork,Iwantedto explore a_single, larger

than lifestatement, incontrastto the_groupof smaller experimentationsthatIhad just

completed. Iwas pleased withthemannerinwhichtheseformswere ableto capture

and_occupythespace aroundthemviatheirvertical_suspension; attimes even

encroachingupontheviewers

during

critique. Ifeltthatwith a single_piece,builton

amuchlarger_scale, Iwouldbeabletofurtherthis sense ofencroachment. In

supportits own_{wait, standing in}thesamemannerthathuman

beings,

andthusthe

audience, would stand.

B. DRAGONS

Ihave alwayshad alove of

dragons;

Ihadtwoas favoritestuffed animals whenI

was younger. Inwestern_{culture, the}dragonisa_thingtobefearedandconquered, a

relative oftheprimordial evil intheGardenofEden: the

serpent."

By

contrast,the

dragoninAsian folklore is a creaturetobeworshippedand_emulated, even_occupying

a placeinthe

zodiac.1"

Dragonsto me represent_power,flightand _magic;like_myself,

theymayalsofallvictimtostereotyping:judged negatively based solelyupon

outwardly fearsomeappearance,regardlessof character.

lv

Theaforementioned second

body

of sculptureexperiments producedthelargest

sculptureI have builtto date. Thepiece, entitledDragon Modulesis actuallya

triptych;

being

composed of_{three smaller,}

freestanding

elements. These formsare

intendedto referencea

head,

body

and_tail;vertical"legs" supportallthree. The

entire assemblagestands_{approximately}

48"

fromthefloorand measures 156"(13

feet)

in lengthoverall.

During

this_time, Iwas_{exploring casting}paper_pulpto create organic forms

that Iobtainedfromrecycled insulationfoam. Thispaperbecametheperfect"skin"

for my dragon:rough and _{scaly intexture,}with_{undulatingripples and curves created}

forskin: _thin,yet

infinitely

_resilient,availableinsuchawide_varietyof sizes andhues

that are, elementally,all thesame. Like myprevious_{constructions, this}creation

becamemore metaphoricalthanliteral intitleand shape.

In additionto the

dragon,

thissecond

body

ofwork produceda suit ofarmoras

well; a sculptureintendedas a self-portrait. Itwas

during

this_time,andthroughthis

exploration, that theconceptof skinwouldfigure greatly in my life.

My

skin,rather

myskin_color,has alwaysbeen veryapparent_{to me, growing up} andas anadult,

specificallyas anartist. Ithink thatI_{have developed my}sense of

humor,

partly, as a

meansof

diffusing

difficultsituationsandthus_{protecting my}own skin. Humorhas

alsobecomeatoolwithwhichI can attackthesame unpleasantness. Wordsarethe

tools of

humor,

likepaper, words cancut. I began makingan experimentallifesize

armature: _{armor, that}Iwould cover with_paper; absurd yet_strangelyappropriate. I

gave specialattentionto thearea around_{the shoulders,emphasizing}and _enlargingthe

shoulder-platesto proportions almostwing-like. Thiswasdone in an effortto

referencetheproportions offictionalmale characters such as superheroes, aswellas

actualmodelssuchas sports figures(such asfootballplayers). To completethe

package an abstract

"emblem"

wasplacedinthecenterof_{the chest,}itcanbe

interpreted asteamlogo orheraldic coat of arms.

C. DREAMS AND HEROES

The suit ofarmorcomprisedhalfof adiptychthatIentitledPaperHero. The

armor, asifitwere_wearingit. Icreatedthecrowninresponsetoaspecific eventin

my

life,

onethatwasdependenton_myskincolor andpresentedthe opportunityfora

wealth of_rewards, and newchallenges. Toits credit,R.I.T. recognized aneed within

thecollegefora morediverse

faculty,

_simply

put-theyneeded moreteachersof

color.Dependent uponcompletionof_mythesis,Iwasoffered atenure-trackposition

as a professor. While Iwasoverjoyed at_{this prospect,}thesenew stipulationsadded

an_urgencyand_{complexity beyond}theinitialrequirements _necessarytocomplete_my

degree. Fora_{time after,}Ifirstreceived_{this news;}Isuffered acreativeblock brought

on

by

anxiety. Iworkedthrough thatblocktocomplete_{the crown,} andthus the

self-portrait, Paper Hero.

Atthe timeIbeganthe thirdand final

body

of_work, I found it difficulttostart

new work. I_{had already}completedoveradozenworksof sculpture as well asbound

twosketchbooks_{specifically forthis project,}plus created alargenumberofloose

drawingsand_maquettes;inspirationwas elusive. Ifoundmyself_{procrastinating}

by

watchingcartoons. Iwas _sketching

during

one oftheseprogramsthatI experienceda

sort of epiphany. Icametorealizethat themonstersin my liferepresented_myown

fears: about

life,

aboutwork, about not

knowing

whatcomes nextand

being

judged

on_myappearance. Ifoundthat

by

_{addressing my}

fears,

by

_givingthemshape and

evenname,Icouldbeginto address, andthusdispelthem. Theunknownisalot less

scarywhenyou can put aface onit. Andthatis_exactlywhatIneededto doto

completethislast

body

of work.

Muchlikethefirst

body

of_{work, this} lasteffort produced a series of related

body

of work sawthereturn ofthehand-likestructures. Allofthis investigationwas

about_nightmares,as well as shapes offamiliarobjects inthebedroomandthe_way

theseshapes seemtochangeinthedark. Inthis environment, Imeantto reference

not _{only my}currentbad

dreams,

butalsothefear I feltas achildupon_returninghome

from_scarymovies. Therearetwo specific

instances,

after

"Gremlins"

and

"Aliens"

thatIcanrecall_{actuallysleeping}underthebedsothemonsters wouldnot get me.

How different myshoesanddiscardedtoys looked fromthatvantage_point;they

scaredmejustas much asthespecial effects.

Consistentwiththespecificnature of_myresearch, Ididnot

display

_mywork atthe

Bevier

Gallery

ontheR.I.T. campus. Ithad becomeapparenttobothmyselfand

members of_mythesiscommittee that theunique

body

of workI had generated would

require a space above andbeyondthatprovided

by

theBevier. Inan effortthatwas

ultimatelyjustasimportantasthecreation ofthe work

itself,

Iwas able toobtain and

renovate severalthousandsquarefeetof commercial spaceata

building,

locatedin

theheartofdowntown Rochester.

D. INSTALLATION

When presenting artwork, especiallysculpture,whichisbestviewedin_{the round;}

theenvironmentcanbe crucial totheaudience'sinterpretationoftheobjects.

Becauseofthesize and scope of_mywork,I feltthat atheatrical_settingwas neededto

best

display

_myefforts.Iwas ableto controlalltheaspects ofthisproduction: the

lighting,

the

background,

eventhe"orderof

appearance"

by

choosingan alternative _site,Iwasalso ableto fulfillapersonal goal of_achieving

myfirstsolo showbeforetheageofthirty.

Thespace wasdividedintothreedistinct areas. The DragonModules, aswellas

manyofthe

hanging

sculpture_{from my}firstexperiments occupiedthemain area.

Thesegreetedtheviewers as_theyenteredthedoor. Asingle overheadlightwas used

foreach_{area; to}dramatizetheshadows aswell enhancethevarioustexturescreated

by

thestrangematerialcombinations. The

diptych,

PaperHero, occupiedaspace

adjacent to themain gallery. Forthis

installation,

a yellow_{party bulb} was_used,

coveringtheentirepiece witha goldenhue. This golden color seemedto emphasize

the themes ofglory, wealthandsuccessthatweresymbolized

by

thecrownand suit

ofarmor. Intherear of_{this space,} ina

dimly

litcorner,was theinstallation Under

theBed; Castin a red_glow,akinto a"red-lightdistrict"-thiswasthemost mysterious

ofthe three areas. Dueto thedim

lighting,

andbecausemost ofthe sculptureswere

painted

black,

thisareachallenged viewersto searchforandinterpretdetails (as if

theythemselveswere

looking

underthebed). Itwas_{this suggestion, theplay}of

appearanceversus_realitythat

truly

capturedthespirit ofthework.

III. CONCLUSION

Inconclusion, I have discoveredmuch about myself as an artist atthe

culminationofthisprocess. Itis ahard_thingto analyze anddiscussone's own

artwork;I'mmuchhappier makingthings than_explainingthem. Tobequite

honest,

I'mnot always sure_{why I} dowhatI

do;

_my attitudeis best summed_up

by

a quote

fromone of_{mypredecessors, the}blackartistJean-Michel

Basquiat,

"

I don't know

howtodescribe_myworkbecause it'snotalwaysthesamething. It's like asking

Miles,

[Davis]

well,howdoesyourhorn

sound?"v

Evenwiththis

difficulty,

_{in reflecting}upon_myown work

during

thisprocess, I have

developedagreater_{understanding}of some ofthe factorsthatmotivate mein it's

creation. Iwas aware

initially

thatthemonsteris a

decidedly

humanconstruct,

created outoffearto explaintheunknown. What IhavecometorealizeisthatIasan

artist,have an_{affinity for giving}voice and

form,

for articulating myownpersonal

fears ina mannerthat is bothexpressiveandcommunicative. _Moreover, Ihavecome

torealizethat tobesuccessful onemustwalkhandin handwiththeunknown.To

becomeamaster, one mustproceedwith confidence down_{the path,}whichis hidden.

Inthewords ofLangston

Hughes,

"Let's bareour arms andplunge them

deep

through

laughter,

_{through pain,}through

sorrow,through

hope,

through

disappointment,

intothe_{very depths}ofthesouls of

our people and

drag

forthmaterial crude, rough,neglected. Then let's sing it dance

it,

write

it,

paintit. Let's do theimpossible. Let'screate _{somethingtranscendentally}

material,mystically objective, earthy.

Spiritually

earthy.Dynamic.

"v'

IV.

Body

of

Work

1. TentsoftheConquerors

Mixedmedia

36"x6"x 10"

2. Wild Kingdom

Mixedmedia

Seriesofmodels, dimensionvariable, largestapprox24"tall

3. Untitled

(Cloud)

Mixedmedia

36"

long

x

18"

tall

4. Hand Warrior

Mixedmedia

14"

tall

5. Untitled (Cloud

H)

Mixedmedia

42"

x 21.5"

x 10"

6. Senki (War

Spirit)

Mixedmedia

39"

x 11"x 15"

7. Pick'n

Mixedmedia

40"

tallx 15"wide

8. PaperHero

Mixedmedia

Diptych *

crown unavailableforphoto shoot

Seatedfigureapprox. dimensionsof

6',

175 lb. male

9. TreeofLife Diptych

Mixedmedia

30"

tallx 11"wide

10. Soul Cage Mixedmedia

16"x9"x9

1 1. Cloud Emperor

Diptych

Mixedmedia

48"tallx36"

long

x24"wide

12. Shoo

Mixedmedia

15"

tallx 17"

long

x40"wide

13. Shoo2

Mixedmedia

13"

tallx 20"

long

x 13"wide

14. Dragon Modules Triptych

Mixedmedia

48"

tallx 156"

long

x 36" wide

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V.

Endnotes

'TheNew College

Edition,

AmericanHeritage

Dictionary

_oftheEnglish_Language,

Boston,

HoughtonMifflin 1969

"Black(blak)-adj-abbr.

Bl,

blk.-3.

Belonging

toan ethnic _group

having

dark

skin, especiallyNegroid. 6.

Evil,

sinister, "blackdeeds"7. Cheerless and

depressing;

gloomy"

"

The Interpreters

Dictionary

_of theBible, New

York,

N.Y.,Abingdon Press 1962

pp.290-293

"SERPENT. A scaly,limblesselongated reptile ofthegenus Ophidiaor

Serpentes

5. In mythology. The_{familiar mythology}oftheancientNear Eastwithits primeval strugglebetweentwo_{opposingpowers,}hasnumerous echoes inthe

Old Testamentwhere, of_{course, the}struggleis betwen Yahwehandhis

antagonist. Oneofthe terms forthe latter is "the

fleeing

serpent."

See

Dragon; Rahab;

Leviathan.

7. In eschatology. _{As early}asIsa. 27:1 a mythological motifisusedforan

eschatologicalpurpose: inthispassage" Leviathanthe

fleeing

serpent "

standsforthelordsenemieswho "inthatday" willbeoverthrown.-Itremains

fortheChristianauthorof Revelationto

identify

"thatancient

serpent"

with

theDevilorSatan (Rev. _12:9-15; 20-02). Thustheserpentsoftheprimeval

cosmic _struggle, oftheGardenof_Eden, andthe ancient

fertility

cultareunited

with allthat the JewishSatanhadcometo stand

for,

though thiscreature's

ultimate endistobecastforever intothelake offire andbrimstone

(20:10;

cf.

Matt.

25:41.)

DEVIL. Aword which relatesto severaltermsintheOld Testament.-The

central_{understanding}ofthe termis of one whodestroysthe_relationship

betweengod andmen. See also_Abbadon;

Apollyon; Beelzebul; Belial;

Dragon;

Evil

One; Lion;

Lucifer; Serpent.

DRAGON. Inseveralpoetic passagesoftheOld Testamentreferenceismade

toa primordial combat between Yahwehandadraconic

monster."

"'

D Howard Smith Chinese

Religions,

From 1000 B.C. to thePresent_Day,

History

ofReligion

Series,

San

Francisco, Holt, Rinehart,

andWinston 1968., pg 9 "TheDragon was_early associatedwithstorm and _cloud,rain and

fertility,

riversand_marshes, andwith_{awe-inspiring} and

kingly

power.-Thatthedragon

was significantfor

Shang dynasty

religionisproved_conclusively

by

thefact

thatintheChia Pien listoforaclebone

inscriptions,

nolessthanforty-one

charactersaretobeconsideredformsof

lung,

the dragon."

Iiii.continued: J.C.

Cooper,

An illustrated_{Encyclopedia of Traditional Signs}and

Symbols,

New

York, N.Y.,

ThamesandHudson

Inc.,

1979pp. 55-56

"Dragon A complexand universal symbol.

Generally

inthe

Orient,

isa

beneficent,

celestialpower, whileintheOccidentit becomesCthonic,

destructiveandevil.The Dragonand theSerpent

(q.v.)

are_usually

interchangeableinsymbolism;Thestruggle withthedragonsymbolizesthe

difficulties tobeovercomein gainingthe treasuresofinner knowledge.

Christian: thepowerof_{evil, theTempter,}the

Devil,

the_enemyof god: italso

representsdeath anddarkness. Chinese: The DragonandtheSerpentare not separatedin Chinesesymbolism. Thedragonrepresents thehighestspiritual

power; the supernatural;

infinity;

thespirit of_{change; the} divinepower of changeand_{transformation;} therhythmsof_Nature, the lawof

becoming;

supernatural_wisdom; strength. The dragonofthe cloudsis also thunderand

fertilizing

rain."

iv

D Howard Smith ChineseReligions, From 1000 B.C. to thePresent_Day,

History

_of

Religion

Series,

San_Francisco,

Holt,

_Rinehart, andWinston _{1968.,pg 9}

"Acertain ambivalenceistobe found inthe conceptofthe dragon. Onone

handhe inspiredaweand_terror,butontheotherhand hewas worshippedasa

beneficent

king

who sentdownthe

fructifying

rains."

v

PhoebeHoban,

Basquiat,

New

York, NY.,

Viking

Penguin, 1998,pg 80

Tamra Davisand

Becky

Johnstonvideo

interview,

1983.

Phoebe_{Hoban, Basquiat,} New

York,

NY.,

Viking

Penguin, 1998,pg 405

LangstonHughespoem

VI.

Bibliography

1. The New CollegeEdition, American Heritage

Dictionary

_oftheEnglish_Language,

Boston,Houghton

Mifflin,

1969

2.TheInterpreters

Dictionary

_ofthe_Bible, New_{York, N.Y.,}AbingdonPress, 1962

3. D. Howard Smith Chinese_Religions, From 1000 B.C. to thePresent_Day, San.

Francisco,

Holt,

Rinehartand _Winston, 1968

4. J.C. Cooper, An IllustratedEncyclopedia_{of Traditional Signs} and_Symbols,

NewYork,

N.Y.,

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