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Two acclaimed illustrators have created this collection of intricately designed animal headshots for keen colorists the world over. From mighty bears to awe-inspiring tigers, each illustration is printed on perforated paper, so it's easily pulled out and available for display.
The catalogue is abundantly illustrated, including multiple views of each sculpture."--BOOK JACKET.
In the darkness anything can happen and often does - if this wild collection of stories is anything to go by! Under cover of the dark many a nefarious and often strange happening is going on, without our knowledge until it's too late and we are lost... Thirteen Press authors have come up with a startling variety of stories on the theme of In The Darkness, murder and mayhem breaking loose everywhere. Come join us in the dark, don't be afraid, we don't bite - not too often anyway...
Among hundreds of thousands of ancient graves and tombs excavated to date in China, the Mancheng site stands out for its unparalleled complexity and richness. It features juxtaposed burials of the first king and queen of the Zhongshan kingdom (dated late second century BCE). The male tomb occupant, King Liu Sheng (d. 113 BCE), was sent by his father, Emperor Jing (r. 157–141 BCE), to rule the Zhongshan kingdom near the northern frontier of the Western Han Empire, neighboring the nomadic Xiongnu confederation. Modeling Peace interprets Western Han royal burial as a political ideology by closely reading the architecture and funerary content of this site and situating it in the historical context of imperialization in Western Han China. Through a study of both the archaeological materials and related received and excavated texts, Jie Shi demonstrates that the Mancheng site was planned and designed as a unity of religious, gender, and intercultural concerns. The site was built under the supervision of the future occupants of the royal tomb, who used these burials to assert their political ideology based on Huang-Lao and Confucian thought: a good ruler is one who pacifies himself, his family, and his country. This book is the first scholarly monograph on an undisturbed and fully excavated early Chinese royal burial site.
China has an age-old zoomorphic tradition. The First Emperor was famously said to have had the heart of a tiger and a wolf. The names of foreign tribes were traditionally written with characters that included animal radicals. In modern times, the communist government frequently referred to Nationalists as “running dogs,” and President Xi Jinping, vowing to quell corruption at all levels, pledged to capture both “the tigers” and “the flies.” Splendidly illustrated with works ranging from Bronze Age vessels to twentieth-century conceptual pieces, this volume is a wide-ranging look at zoomorphic and anthropomorphic imagery in Chinese art. The contributors, leading scholars in Chinese art history and related fields, consider depictions of animals not as simple, one-for-one symbolic equivalents: they pursue in depth, in complexity, and in multiple dimensions the ways that Chinese have used animals from earliest times to the present day to represent and rhetorically stage complex ideas about the world around them, examining what this means about China, past and present. In each chapter, a specific example or theme based on real or mythic creatures is derived from religious, political, or other sources, providing the detailed and learned examination needed to understand the means by which such imagery was embedded in Chinese cultural life. Bronze Age taotie motifs, calendrical animals, zoomorphic modes in Tantric Buddhist art, Song dragons and their painters, animal rebuses, Heaven-sent auspicious horses and foreign-sent tribute giraffes, the fantastic specimens depicted in the Qing Manual of Sea Oddities, the weirdly indeterminate creatures found in the contemporary art of Huang Yong Ping—these and other notable examples reveal Chinese attitudes over time toward the animal realm, explore Chinese psychology and patterns of imagination, and explain some of the critical means and motives of Chinese visual culture. The Zoomorphic Imagination in Chinese Art and Culture will find a ready audience among East Asian art and visual culture specialists and those with an interest in literary or visual rhetoric. Contributors: Sarah Allan, Qianshen Bai, Susan Bush, Daniel Greenberg, Carmelita (Carma) Hinton, Judy Chungwa Ho, Kristina Kleutghen, Kathlyn Liscomb, Jennifer Purtle, Jerome Silbergeld, Henrik Sørensen, and Eugene Y. Wang.
Set in a world on the edge of an apocalyptic flood, this heart-stoppingly romantic fantasy debut is perfect for fans of Rachel Hartman and Rae Carson. In a world bound for an epic flood, only a chosen few are guaranteed safe passage into the new world once the waters recede. The Kostrovian royal court will be saved, of course, along with their guards. But the fate of the court's Royal Flyers, a lauded fleet of aerial silk performers, is less certain. Hell-bent on survival, Principal Flyer, Natasha Koskinen, will do anything to save the flyers, who are the only family she's ever known. Even if "anything" means molding herself into the type of girl who could be courted by Prince Nikolai. But unbeknownst to Natasha, her newest recruit, Ella Neves, is driven less by her desire to survive the floods than her thirst for revenge. And Ella's mission could put everything Natasha has worked for in peril. As the oceans rise, so too does an undeniable spark between the two flyers. With the end of the world looming, and dark secrets about the Kostrovian court coming to light, Ella and Natasha can either give in to despair . . . or find a new reason to live.
'The Ancient Highlands of Southwest China' offers a vivid account of the history of warrior polities occupying the southwestern frontiers of early China. Placing the archaeology of the 'Dian' and its Bronze Age neighbours in dialogue with anthropological theory, Alice Yao shows how local histories of kingship come to challenge and resist imperial governance as well as the production of historiography.