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"No one in the West knows the archives of China's last dynasty better than Professor Bartlett. Monarchs and Ministers affords us one of the first truly informed views of imperial Chinese policy-making from the inside."--Frederic Wakeman, University of California, Berkeley "Monarchs and Ministers is one of those rare works that commands unanimous assent and constitutes a breakthrough."--Pierre-Henri Durand, Centre National de la Recherche Scientifique, Paris
This book explores the life and work of Ruan Yuan (1764–1849), a scholar-official of renown in mid-Qing China prior to the Opium War, before traditional institutions and values became altered by incursions from the West. His distinction as an official, scholar, and patron of learning has been recognized by both his contemporaries and modern scholars. He was also exulted as an honest official and an exemplary man of the 'Confucian persuasion'. His name is mentioned in almost all the works on Qing history or Chinese classics because of the wide range of his research and publications. A number of these publications are still being reprinted today. This is the first full-length biography of Ruan Yuan in English, and the only one focusing on all aspects of the man's life and work in the context of his time. It follows Ruan Yuan from his childhood in Yangzhou, expansion of his intellectual horizons and political network in Beijing, his long service in the provinces handling some of the most thorny issues of the day in security and control, to the glory as a senior statesman in the capital, and retirement in Yangzhou.
A major scholarly work, published in conjunction with the exhibition titled "Splendors of Imperial China: Treasures from the National Palace Museum, Taipei" (on display at the Metropolitan Museum of Art during 1996, and scheduled for several other American cities during 1996-1997). Written by scholars of both Chinese and Western cultural backgrounds and conceived as a cultural history, the book synthesizes scholarship of the past three decades to present the historical and cultural significance of individual works of art and analyses of their aesthetic content, as well as reevaluation of the cultural dynamics of Chinese history. Includes some 600 illustrations, 436 in color. Annotation copyright by Book News, Inc., Portland, OR
The Qing Dynasty (1644-1911) was the last and arguably the greatest of the conquest dynasties to rule China. Its rulers, Manchus from the north, held power for three centuries despite major cultural and ideological differences with the Han majority. In this book, Evelyn Rawski offers a bold new interpretation of the remarkable success of this dynasty, arguing that it derived not from the assimilation of the dominant Chinese culture, as has previously been believed, but rather from an artful synthesis of Manchu leadership styles with Han Chinese policies.
This publication catalogue focuses on twelve masterpieces of Chinese landscape and figure paintings. An essay by Wen C. Fong presents an in-depth stylistic analysis and contextual history of the famed Riverbank; a detailed physical analysis is also included. An extended essay by Maxwell K. Hearn examines all twelve major paintings in the book, which range in date from the tenth to the early eighteenth century. -- Metropolitan Museum of Art website.
Western scholarship has hitherto described the assimilation of Buddhism in Korea in terms of the importation of Sino-Indian and Chinese intellectual schools. This has led to an overemphasis on the scholastic understanding of Buddhism and overlooked evidence of the way Buddhism was practiced "on the ground." Domesticating the Dharma provides a much-needed corrective to this view by presenting for the first time a descriptive analysis of the cultic practices that defined and shaped the way Buddhists in Silla Korea understood their religion from the sixth to tenth centuries. Critiquing the conventional two-tiered model of "elite" versus "popular" religion, Richard McBride demonstrates how the eminent monks, royalty, and hereditary aristocrats of Silla were the primary proponents of Buddhist cults and that rich and diverse practices spread to the common people because of their influence. Drawing on Buddhist hagiography, traditional narratives, historical anecdotes, and epigraphy, McBride describes the seminal role of the worship of Buddhist deities—in particular the Buddha Úâkyamuni, the future buddha Maitreya, and the bodhisattva Avalokiteúvara—in the domestication of the religion on the Korean peninsula and the use of imagery from the Maitreya cult to create a symbiosis between the native religious observances of Silla and those being imported from the Chinese cultural sphere. He shows how in turn Buddhist imagery transformed Silla intellectually, geographically, and spatially to represent a Buddha land and sacred locations detailed in the Avataṃsaka Sûtra (Huayan jing/Hwaŏm kyŏng). Emphasizing the importance of the interconnected vision of the universe described in the Avataṃsaka Sûtra, McBride depicts the synthesis of Buddhist cults and cultic practices that flourished in Silla Korea with the practice-oriented Hwaŏm tradition from the eight to tenth centuries and its subsequent rise to a uniquely Korean cult of the Divine Assembly described in scripture.
The Chinese Chan (jap. Zen) abbot Zhongfeng Mingben of the Yuan Dynasty forged a synthesis of buddhist sutra writing and draft-cursive (zhang cao) script in his calligraphy. This highly idiosyncratic, new style of calligraphy prompted innovative trends in Ming Dynasty China and transmitted current Chinese artistic developments to Japan where it had a major impact on Zen- and tea circles.