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China is daily becoming more and more an object of interest and curiosity to European nations, in proportion as commerce, the fore-runner, if not the cause, of all improvement.in the arts of civilization, discloses its resources, and sheds new light on the character and intellectual cultivation of its inhabitants. Hitherto, the remoteness of its situation with respect to Britain, and the rude, inhospitable nature of its policy toward strangers, have concurred in perpetuating the erroneous impressions created by travelers imperfectly informed, or prone to exaggeration. Among the unfounded notions sedulously propagated by the advocates of arbitrary power, is the opinion that this vast empire, the government of which may be regarded as the beau ideal of despotism, has been torn by fewer revolutions and civil wars than the free states of the West; and that its military power is a kind of colossus, fabricated by the wisdom of ages, which no force or policy that could be exerted by any European nation would suffice to overthrow.--Amazon.com.
The Prussian-born Protestant missionary Karl Friedrich August Gützlaff (1803-51) sought to spread Christianity in the Far East. A gifted linguist, he learned several Chinese dialects and distributed translated literature. This 1834 two-volume work sought to diminish Anglophone ignorance of China's history from mythological times to the ruling Qing dynasty.
From China's most influential foreign policy thinker, a vision for a "Beijing Consensus" for international relations The rise of China could be the most important political development of the twenty-first century. What will China look like in the future? What should it look like? And what will China's rise mean for the rest of world? This book, written by China's most influential foreign policy thinker, sets out a vision for the coming decades from China's point of view. In the West, Yan Xuetong is often regarded as a hawkish policy advisor and enemy of liberal internationalists. But a very different picture emerges from this book, as Yan examines the lessons of ancient Chinese political thought for the future of China and the development of a "Beijing consensus" in international relations. Yan, it becomes clear, is neither a communist who believes that economic might is the key to national power, nor a neoconservative who believes that China should rely on military might to get its way. Rather, Yan argues, political leadership is the key to national power, and morality is an essential part of political leadership. Economic and military might are important components of national power, but they are secondary to political leaders who act in accordance with moral norms, and the same holds true in determining the hierarchy of the global order. Providing new insights into the thinking of one of China's leading foreign policy figures, this book will be essential reading for anyone interested in China's rise or in international relations.
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When published in 1982, this translation of Professor Jacques Gernet's masterly survey of the history and culture of China was immediately welcomed by critics and readers. This revised and updated edition makes it more useful for students and for the general reader concerned with the broad sweep of China's past.
The Chinese Art Book is a beautifully packaged, authoritative, and unprecedented overview of Chinese art from its earliest dynasties to the contemporary generation of artists enlivening today's art world. 300 works represent every form of Chinese visual art, including painting, calligraphy, sculpture, ceramics, figurines, jade, bronze, gold and silver, photography, video, installation, and performance art. Full of surprises for readers of all levels, The Chinese Art Book breaks new ground by pairing works that speak to one another in unexpected ways, enlightening historical, stylistic and cultural connections. Concise descriptive essays place each work in context, while cross-references lead the reader on a fascinating journey through Chinese art history. The Chinese Art Book features an introductory essay by Colin Mackenzie, Senior Curator of Chinese Art at the Nelson-Akins Museum of Art, along with an accessible summary of Chinese political and cultural history, a comprehensive glossary defining technical terms, and an illustrated timeline.