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Excerpt from Beyond Shanghai And - China! There is a name to conjure with! What sort of a picture does China bring up? I, for one, had always thought of the Chinese as being a strange, grotesque people. (the years have builded such a vast, irrational barrier of trivial affairs, like chopsticks and queues!) Dah Sing, Quong Wong, soo Chow - there seemed to be something in their very names that made one think of phoenixes, cocka trices, griffins, and other infringements against the spirit of normalcy as we know it. True, the Chinese I had met at different places in the Occident had always been uniformly courteous and friendly. Yet I always had the feeling that they were holding something back. The Insidious Dr. Fu-manchu and all the rest had done their insidious work. At best (i used to think) they were a cold and reserved people; a people almost lacking in some of the characteristics which we have come to look upon as human. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Gateway to China: Pictures of Shanghai Ample, reads like a romance and it is a well-established fact that its books had much to do in shaping the radi cal policy of the late Emperor Kuang Hsii and the liberals of that period, which eventuated in the dawn of progress and a New China. To all friends, Chinese and foreign, whose suggestions and criticisms have helped make possible this little book, warmest thanks are extended. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Liu Zhi (c1662-c1730), a well-known Muslim scholar writing in Chinese, published outstanding theological works, short treatises, and short poems on Islam. While traditional Arabic and Persian Islamic texts used unfamiliar concepts to explain Islam, Liu Zhi translated both text and concepts into Chinese culture. In this erudite volume, David Lee examines how Liu Zhi integrated the basic religious living of the monotheistic Hui Muslims into their pluralistic Chinese culture. Liu Zhi discussed the Prophet Muhammad in Confucian terms, and his work served as a bridge between peoples. This book is an in-depth study of Liu Zhi's contextualization of Islam within Chinese scholarship that argues his merging of the two never deviated from the basic principles of Islamic belief.
Beyond Representation surveys Chinese painting and calligraphy from the eighth to the fourteenth century, a period during which Chinese society and artistic expression underwent profound changes. A fourteenth-century Yuan dynasty (1279 - 1368) literati landscape painting presents a world that is totally different from that portrayed in the monumental landscape images of the early Sung dynasty (960 - 1279). To chronicle and explain the evolution from formal representation to self-expression is the purpose of this book. Wen C. Fong, one of the world's most eminent scholars of Chinese art, takes the reader through this evolution, drawing on the outstanding collection of Chinese painting and calligraphy in The Metropolitan Museum of Art, New York. Focusing on 118 works, each illustrated in full color, the book significantly augments the standard canon of images used to describe the period, enhancing our sense of the richness and complexity of artistic expression during this six-hundred-year era.