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Pictures and Visuality in Early Modern China is not simply a survey of sixteenth-century images, but rather, a thorough and thoughtful examination of visual culture in China's Ming Dynasty, one that considers images wherever they appeared—not only paintings, but also illustrated books, maps, ceramic bowls, lacquered boxes, painted fans, and even clothing and tomb pictures. Clunas's theory of visuality incorporates not only the image and the object upon which it is placed but also the culture which produced and purchased it. Economic changes in sixteenth-century China—the rapid expansion of trade routes and a growing class of consumers—are thus intricately bound up with the evolution of the image itself. Pictures and Visuality in Early Modern China will be a touchstone for students of Chinese history, art, and culture.
Text and illustrations present detailed information on the geography, history and government, economy, people, cultural life and society of traditional and modern China, home to over one-fifth of the earth's population.
The Beijing Olympics focused the world's eyes on China. But despite increased tourism and rampant foreign investment, the cultural distance between China and the West remains as vast as the oceans that separate them. The Middle Kingdom is still relatively unknown by Westerners. China is in fact made up of 33 distinct regions populated by 56 ethnic groups -- and photojournalist Tom Carter has visited them all. This little book is a visual tribute to the People's Republic of China, with an ardent emphasis on the People.
"This is an outstanding piece of work: timely, essential, authoritative, and original. Cahill throws light on obscure artists, emerging styles and regional traditions, unexplored aspects of cultural life, enigmatic iconographies, and questions of authorship and authenticity, leaving the reader richly informed and full of new ideas."--Susan Nelson, Indiana University "Cahill brings the vast body of 'vernacular' painting into the legitimate venue of art historical criticism, giving connoisseurs, viewers, and readers a more capacious and accurate grasp of the world of Chinese pictorial art."--Susan Mann, author of The Talented Women of the Zhang Family
Reprint of the original, first published in 1873.
"Embark on a visual and literary exploration of China through the lens and words of Isabella Bird in 'Chinese Pictures: Notes on Photographs Made in China.' Bird, the intrepid traveler and writer, offers a unique perspective on the Middle Kingdom during the late 19th century. This captivating collection combines Bird's keen observations with evocative photographs, providing a nuanced glimpse into the landscapes, people, and culture of China. From the imperial grandeur of Beijing to the serene landscapes of the countryside, 'Chinese Pictures' is a vivid portrayal of a nation in transition. Join Bird as she delves into the heart of Chinese life, capturing moments frozen in time through the art of photography and storytelling. An immersive journey that transcends temporal boundaries, this work is a testament to Bird's unwavering curiosity and her ability to bridge cultures through the lens of her camera and the power of her pen."
Lisa Ross's ethereal photographs of Islamic holy sites were created over the course of a decade on journeys to China's Xinjiang region in Central Asia, historically a cultural crossroads but an area to which artists and researchers have generally been denied access since its annexation in 1949. These monumental images show shrines created during pilgrimages, many of which have been maintained continuously over several centuries; visitation to the tombs of saints is a central aspect of daily life in Uyghur Islam, and its pilgrims ask for intercession for physical, mental, and spiritual ailments. The shrines, adorned with small devotional offerings that mark a prayer or visit, are poignant representations of collective memory and a pacifistic faith, and endure despite vulnerability to natural forces of sand, heat, and powerful winds. Their simplicity and austerity as captured by Ross invoke ideas of spirituality, eternity, and transcendence. Three essays—by a historian of Central Asian Islam, a Uyghur folklorist, and the curator of an accompanying exhibition at the Rubin Museum of Art—situate the photographic content in context. This volume emerges at a critical time, as modernization and new policies for development of China's far west bring about rapid, extreme, and irrevocable change; the region is its largest source of untapped natural gas, oil, and minerals. Many of the sites in Ross's work are threatened by political and economic pressures—her images are valuable, therefore, not only for their intrinsic beauty, but as an important record of a rich and vibrant culture.
Accompanies an exhibition held at the J. Paul Getty Museum, 8 February-1 May 2011.