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During the Ming Dynasty numerous new animal themes were created to convey political and ethical messages current at court. As the result a sophisticated language of Chinese animal painting was developed, employing both the animals' symbolic associations and homonymic puns. Hou-mei Sung's exciting rediscovery of some of these lost meanings has led to a full-scale investigation of the evolving history of Chinese animal painting. Distinct symbolic meanings were associated with individual motifs, but all animals were assigned a place in the universe according to the Chinese concept of nature. From the very early yin/yang cosmology to later developments of Daoist and Confucian philosophies and ethics, Chinese animals gained new meanings related to their historical contexts. This book explores these new findings, using the colorful animal images and their rich and evolving symbolic meanings to gain insight into unique aspects of Chinese art, as well as Chinese culture and history. Exhibition Schedule: Cincinnati Museum of Art (October 2009 - February 2010)
Highly readable authoritative reference, rich with sidelights from literature and legend, explains animal symbolism in art of the Far East. The 673 black-and-white illustrations depict dragons, tigers, bats, butterflies, elephants, and other creatures.
Animals.
Philosophical controversy over non-human animals extends further back than many realize -- before Utilitarianism and Darwinism to the very genesis of philosophy. This volume examines the richness and complexity of that long history. Twelve essays trace the significance of animals from Greek and Indian antiquity through the Islamic and Latin medieval traditions, to Renaissance and early modern thought, ending with contemporary notions about animals. Two main questions emerge throughout the volume: what capacities can be ascribed to animals, and how should we treat them? Notoriously ungenerous attitudes towards animals' mental lives and ethics status, found for instance in Aristotle and Descartes, are shown to have been more nuanced than often supposed, while remarkable defenses of benevolence towards animals are unearthed in late antiquity, India, the Islamic world, and Kant. Other chapters examine cannibalism and vegetarianism in Renaissance thought, and the scientific testing of animals. A series of interdisciplinary reflections sheds further light on human attitudes towards animals, looking at their depiction in visual artworks from China, Africa, and Europe, as well as the rich tradition of animal fables beginning with Aesop.
Superb archive of more than 1,100 illustrations, grouped chronologically according to dynastic era, depicts dragons, tigers, fish, birds, horses, butterflies, waterfowl, and a host of other creatures — real and mythical.
This innovative collection opens a door into the rich history of animals in China. This title is also available as Open Access.
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.
Catalog of the first exhibition to consider the remarkable endurance and symbolic resonance of the horse in Chinese art, history, and philosophy. It features almost 30 works, including 13 sculptures from the Han-Tang dynasties, and hand scrolls, hanging scrolls, and album leaves from the Tang-Qing dynasties. By examining the tremendous range of equine depictions in Chinese art, it reveals the horse as an exceptionally fluid and potent means for the continual construction and reconstruction of Chinese identity, a figure of enduring fascination and value given its usefulness -- both real and symbolic -- to humankind.