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Qing China (1644–1912) witnessed a resurgence in architectural painting, a traditional subject category known as jiehua, or boundary painting. Drawing Boundaries concerns itself with the symbolic implications of this impressive and little studied reflorescence. Beginning with a concise and well-illustrated history of the evolution of the tradition, this exciting new study reveals how these images were deployed in the Manchu (Qing) imperial court to define political, social, or cultural boundaries. Characterized by grand conception and regal splendor, the paintings served to enhance the imperial authority of rulers and, to a segment of the elite, to advertise social status. Drawing Boundaries thus speaks to both issues of painting and architectural style and the discourse of powerful cultural forms. In addition to the analysis of how the style of image construction suggests these political and social motivations, the book identifies another aspect of traditional architectural representation unique to the Qing: the use of architectural representation to render form and space. Anita Chung makes the fascinating observation that these renderings create an overwhelming sense of “being there,” a characteristic, she argues, that underscores the Qing concern for the substance of things—a sensibility toward the physical world characteristic of the period and emblematic of a new worldview.
Compiled by scholars at the court of Liu An, king of Huainan, in the second century B.C.E, The Huainanzi is a tightly organized, sophisticated articulation of Western Han philosophy and statecraft. Outlining "all that a modern monarch needs to know," the text emphasizes rigorous self-cultivation and mental discipline, brilliantly synthesizing for readers past and present the full spectrum of early Chinese thought. The Huainanzi locates the key to successful rule in a balance of broad knowledge, diligent application, and the penetrating wisdom of a sage. It is a unique and creative synthesis of Daoist classics, such as the Laozi and the Zhuangzi; works associated with the Confucian tradition, such as the Changes, the Odes, and the Documents; and a wide range of other foundational philosophical and literary texts from the Mozi to the Hanfeizi. The product of twelve years of scholarship, this remarkable translation preserves The Huainanzi's special rhetorical features, such as parallel prose and verse, and showcases a compositional technique that conveys the work's powerful philosophical appeal. This path-breaking volume will have a transformative impact on the field of early Chinese intellectual history and will be of great interest to scholars and students alike.
In Making the New World Their Own, Qiong Zhang offers a systematic study of how Chinese scholars in the late Ming and early Qing came to understand that the earth is shaped as a globe. This notion arose from their encounters with Matteo Ricci, Giulio Aleni and other Jesuits. These encounters formed a fascinating chapter in the early modern global integration of space. It unfolded as a series of mutually constitutive and competing scholarly discourses that reverberated in fields from cosmology, cartography and world geography to classical studies. Zhang demonstrates how scholars such as Xiong Mingyu, Fang Yizhi, Jie Xuan, Gu Yanwu, and Hu Wei appropriated Jesuit ideas to rediscover China’s place in the world and reconstitute their classical tradition. Winner of the Chinese Historians in the United States (CHUS) "2015 Academic Excellence Award"
Since its original publication in Chinese in the 1930s, this work has been accepted by Chinese scholars as the most important contribution to the study of their country's philosophy. In 1952 the book was published by Princeton University Press in an English translation by the distinguished scholar of Chinese history, Derk Bodde, "the dedicated translator of Fung Yu-lan's huge history of Chinese philosophy" (New York Times Book Review). Available for the first time in paperback, it remains the most complete work on the subject in any language. Volume I covers the period of the philosophers, from the beginnings to around 100 B.C., a philosophical period as remarkable as that of ancient Greece. Volume II discusses a period lesser known in the West--the period of classical learning, from the second century B.C. to the twentieth century.
Employing a comparative religious studies approach, this book provides a comprehensive discussion of early Quanzhen as a Daoist religious movement charactized by asceticism, alchemical transformation, and mystical experiencing. Emphasis is placed on the complex interplay among views of self, religious praxis, and religious experience.
Noted for its magnificent architecture and extraordinary history, the Yuanming Yuan is China's most famous imperial garden. The complex was begun in the early eighteenth century, and construction continued over the next 150 years. While Chinese historians, and many Chinese in general, view the garden as the paramount achievement of Chinese architecture and landscape design, almost nothing is known about the Yuanming Yuan in the West. A Paradise Lost is the first comprehensive study of the palatial garden complex in a Western language. Written in a broad and engaging style, Young-tsu Wong brings "the garden of perfect brightness" to life as he leads readers on a grand tour of its architecture and history. Wong begins by inspecting the garden's physical appearance and its architectural elements. He discusses the origin and evolution of these structures and the aesthetics of their design and arrangement. Throughout he refers to maps and original models of individual buildings and other existing gardens of the Ming-Qing period, including the well-preserved Yihe Yuan and the Chengde Summer Mountain Retreat in Rehe. A special feature of the book is its exploration of the activities and daily life of the royal household.
The heaven and earth gave birth to all living things. I saw that the heavens and the earth gave birth to all living things, and I could pick any ancient Emperor's treasure; the ancient Emperor's treasure would definitely be given to me and the Emperor's treasure would be given to me; divine weapons were destined to be given to me after the birth of a peerless weapon. If I were to follow brother, I would definitely be promoted to an Imperial Armament in the future. I can't, I remember now, it's the fate of the previous life is not over, in this life we will continue the fate.
The Garden of Perfect Brightness (Yuanming Yuan) in the western suburbs of the Quing capital, Beijing, was begun by the great Kangxi (r. 1661-1722) and expanded by his son, Yongzheng (r. 1722-1736) and brought to its greatest glory by his grandson, Qianlong (r. 1736-1796). A lover of literature and art, Qinglong sought an earthly reflection of his greatness in his Yuanming Yuan. For many years he designed and directed an elaborate program of garden arrangements. Representing two generations of painstaking research, this book follows the emperor as he ruled his empire from within his garden. In a landscape of lush plants, artificial mountains and lakes, and colorful buildings, he sought to represent his wealth and power to his diverse subjects and to the world at large. Having been looted and burned in the mid-nineteenth century by western forces, it now lies mostly in ruins, but it was the world’s most elaborate garden in the eighteenth century. The garden suggested a whole set of concepts—religious, philosophical, political, artistic, and popular—represented in landscape and architecture. Just as bonsai portrays a garden in miniature, the imperial Yuanming Yuan at the height of its splendor represented the Qing Empire in microcosm. Includes 62 color plates and 35 black & white photographs.
Is there really a soul in the endless starfield that can give the unimaginable ability to ordinary people? Whether the beautiful pictures believed by countless people really exist? It seemed that destiny had abandoned Qin Xuan from the beginning. In order to open the road towards cultivation, Qin came to the cold area alone three years ago. Three years later, he still hadn't made any progress. It was also during these several years that his parents were framed and expelled from the family, and he was betrayed by close friends. Is there really a soul in the endless starfield that can give the unimaginable ability to ordinary people? Whether the beautiful pictures believed by countless people really exist? ☆About the Author☆ Qian Qiu Xue, a new web novelist, has the fiction debut "Peerless God Emperor". This fantasy novel is still ongoing and has accumulated nearly five million words. Because of the excellent literary quality, Qian Qiu Xue has become a contract writer of a novel website.
This text considers the prevalence of Lao-Zhuang Daoism and Huang-Lao Daoism in late pre-imperial and early imperial Chinese traditional thought. The author uses unique excavated documents and literature to explore the Huang-Lao tradition of Daoist philosophy, which exerted a great influence on China ancient philosophy and political theories, from the Pre-Qin period to the Wei-Jin periods. It explains the original and significance of Huang-Lao Daoism, its history and fundamental characteristics, notably discussing the two sides of Huang-Lao, namely the role and function of Lao Zi and the Yellow Emperor, and discusses why the two can constitute a complementary relationship. It also provides a key study of the Mawangdui silk texts, bamboo slips of the Heng Xian, Fan Wu Liu Xing, considering both the theory of human Xing and of Qi.