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Early in his career, Judge Dee visits a senior magistrate who shows him a beautiful lacquer screen on which a scene of lovers has been mysteriously altered to show the man stabbing his lover. The magistrate fears he is losing his mind and will murder his own wife. Meanwhile, a banker has inexplicably killed himself, and a lovely lady has allowed Dee's lieutenant, Chiao Tai, to believe she is a courtesan. Dee and Chiao Tai go incognito among a gang of robbers to solve this mystery, and find the leader of the robbers is more honorable than the magistrate. "One of the most satisfyingly devious of the Judge Dee novels, with unusual historical richness in its portrayal of the China of the T'ang dynasty."-—New York Times Book Review "Even Judge Dee is baffled by Robert van Gulik's new mysteries in The Lacquer Screen. Disguised as a petty crook, he spends a couple of precarious days in the headquarters of the underworld, hobnobbing with the robber king. Dee's lively thieving friends furnish some vital clues to this strange and fascinating jigsaw."-—The Spectator "So scrupulously in the classic Chinese manner yet so nicely equipped with everything to satisfy the modern reader."-—New York Times Robert Van Gulik (1910-67) was a Dutch diplomat and an authority on Chinese history and culture. He drew his plots from the whole body of Chinese literature, especially from the popular detective novels that first appeared in the seventeenth century.
Coromandel is an area of the east coast of India between the Godava River and Nagapatnam. Contrary to what its name implies, Coromandel lacquer does not come from this region but from China. Although almost all museums with a major Oriental art collection own a Coromandel screen, no monograph has so far been dedicated to that theme. This is the first book to directly address this subject. Aimed at a public with an interest in Oriental art, this book is divided in to four parts. The first part gives a brief overview of trade relations between East and West. In order to place the emergence of Coromandel screen in its proper context, the first part also details the evolution of Chinese lacquer. The second part deals with the origin of Coromandel lacquer technique and the third part describes the various decorative patterns to be found in the screens featured in the book. By comparing the style of the dated screens with that of undated ones, the authors have formed a theory of how the Coromandel style developed. Part four includes a research into the materials and techniques used in the manufacture of a Coromandel screen. Here old Chinese texts on lacquer techniques are consulted and fragments of Coromandel lacquer are examined. This book provides the first step toward broader and deeper research on the subject and should encourage more discussions on the subject. It will become one of the classic references that breaks new ground in this much-neglected subject.
This reference tool covers the technology and methods of treatment for both types of lacquer and assesses current practices. It describes production technology and decorative techniques and discusses the materials used in Asian lacquer.
Screen printing is simple enough for a child or beginner, but it is also a favorite printing process of experienced artists and craftspeople. It allows for a wide range of creative possibilities. It is less inhibiting than other printing processes. And, contrary to most other methods of printing, it does not require the user to make the mental translations of a reversed image. The extreme versatility of the medium has opened completely new possibilities for design and expression in both serigraphy (art prints) and textile designs. The Schwalbachs' book clearly explains how to employ silk-screen printing in both of these areas: producing a serigraph and making a fabric print. It also sets down all of the steps involved in constructing a printing board and frame, keying the screen, preparing inks or dyes, and printing the color runs — plus a list of various problems that might turn up and their solutions. Other facets discussed include the best ways of cleaning up, handling the completed print, and working with different resists — paper, blockout, washout, photo-emulsion. There is even a special print project for the beginner, using a cardboard frame and school tempera paint. Nearly 200 diagrams and photographs, including 19 in full color, make a clear text even clearer and offer examples of completed prints. The Schwalbachs taught silk-screen printing for many years at the University of Wisconsin. They know how to communicate the essence of this craft in the best manner possible. With their book as a guide, anyone can quickly master the techniques of silk-screening printing.
Presents basic silk screening principles with instructions for making and printing stencil designs plus a brief history of stencilling as an art
The design of the Japanese folding screen is one of the great art devices in decorative arts. Its history, school of Japanese painting, the artists are explored in this elegant publication wherein the golds, reds and greens reflect as accurately aspossible on the printed page of the actual screens.