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The essays in this volume address a diverse range of issues in China’s narrative art and visual culture mainly from the Ming dynasty (1368–1644) to the present. These studies attend to the complex ways in which images circulate in pictorial media and across boundaries between ‘high art’ and popular culture—images in paintings, prints, stone engravings and posters, as well as in film and video art. In addition, the authors examine the roles of ancient exemplary stories and textual narratives, as well as their reiteration in the visual arts in early modern and modern social and political contexts. The volume is divided into three sections: Representing Paradigms, Interpreting Literary Themes and Narratives, and the Medium and Modernity. While the essays in each section deal with concerns in the field of China’s art history, an editors’ introduction serves to position the topic of narrative art and to introduce definitions and genre issues which run through the book. As a whole, the volume invites reflection on the intrinsic nature of narratives and their pictorial lives, and presents new research which challenges established views and paradigms.
Each of the 35 narrative and figure paintings selected from the Shanghai Museum and featured in this exquisite book, retell a story from Chinese legend, folklore or history. Album leaf, fan, handscroll and hanging-scroll paintings demonstrate the dynamic
During the Ming-Qing transition (roughly from the 1570s to the 1680s), literati-officials in China employed public forms of writing, art, and social spectacle to present positive moral images of themselves and negative images of their rivals. The rise of print culture, the dynastic change, and the proliferating approaches to Confucian moral cultivation together gave shape to this new political culture. Confucian Image Politics considers the moral images of officials—as fathers, sons, husbands, and friends—circulated in a variety of media inside and outside the court. It shows how power negotiations took place through participants’ invocations of Confucian ethical ideals in political attacks, self-expression, self-defense, discussion of politically sensitive issues, and literati community rebuilding after the dynastic change. This first book-length study of early modern Chinese politics from the perspective of critical men’s history shows how images—the Donglin official, the Fushe scholar, the turncoat figure—were created, circulated, and contested to serve political purposes.
The first extended history of the Chinese picture-scroll. The Chinese picture-scroll, a long, horizontal painting or calligraphic work, has been China’s pre-eminent aesthetic form throughout the last two millennia. This first history of the picture-scroll explores its extraordinary longevity and adaptability to social, political, and technological change. The book describes what the picture-scroll demands of a viewer, how China’s artists grappled with its cultural power, and how collectors and connoisseurs left their marks on scrolls for later generations to judge.
"Frederic Wakeman's scholarship is impeccable and the breadth of learning in this book is astounding. I repeatedly found myself slowing down to savor the material. Many of the essays in this collection are no longer easily accessible, and placing them together in a single volume will be a great benefit to the next generation of students and scholars. "—Joseph W. Esherick, author of The Origins of the Boxer Uprising "This book brings together the best of Frederic Wakeman's articles, all of which are beautifully written and represent the remarkable breadth of Wakeman's research. The opportunity to read them together sheds new light on Chinese history and on the thought processes of one of the West's greatest historians."—Madeleine Zelin, Director of the East Asian National Resource Center at Columbia University
Lutes and Marginality in Pre-Modern China traces the complex history of lutes as they moved from the far west into China, and how these instruments became linked to various forms of social, cultural, ethnic, and religious marginality within and at China’s borders. The book argues that the lute, a musical instrument that likely originated in the Near East or Central Asia, became a highly charged object replete with associations of ethnic and political identity, social status, and gender in China across the third to seventeenth centuries, and as such, offers a crucial vehicle for understanding interactions between the Chinese center and periphery. Using a richly interdisciplinary perspective that brings together music history, performance studies, archaeology, and art history, the author draws together the visual evidence for the history of Chinese lutes and analyzes the political and cultural dimensions of their depictions in art. In exploring the lute’s reception across time and space, this book illuminates the shifting relationships between China and cultures along its frontier, as well as the dynamics of gender and social status within China’s center. Comprehensive in scope, Lutes and Marginality in Pre-Modern China offers new insights for scholars of pre-modern China, art history, archaeology, music history, ethnomusicology, and Silk Road and frontier studies.
This book discusses what is often called the “Great Leap Famine”, which occurred in China during the years from 1959 to 1961. Scholarly consensus suggests that 30 million Chinese perished. Yang Songlin’s book provides an evidence-based, systematic and substantial rebuff, concluding that a much smaller number of deaths can be verified. This book is of interest to scholars of China and Chinese development and politics, economists, and demographers.
In Wild Grass, Pulitzer Prize—winning journalist Ian Johnson tells the stories of three ordinary Chinese citizens moved to extraordinary acts of courage: a peasant legal clerk who filed a class-action suit on behalf of overtaxed farmers, a young architect who defended the rights of dispossessed homeowners, and a bereaved woman who tried to find out why her elderly mother had been beaten to death in police custody. Representing the first cracks in the otherwise seamless façade of Communist Party control, these small acts of resistance demonstrate the unconquerable power of the human conscience and prophesy an increasingly open political future for China.
This book is the first on the history of Chinese public relations, and has been selected as one of the “40 representative books for 40 years of public relations in China” by the Public Relations Society of China. In four chapters, it systematically reviews and analyzes the trajectory and evolution of public relations in China from the very start – when the “reform and opening” policy was adopted in 1978 – to the present. The book will help both established and new scholars and practitioners in the field to understand the changing nature of public relations in China. It offers a unique perspective by placing the discussion of the development of public relations in the general context of the changes and development of China as a whole, and in relation to the changing status of public relations around the world. Accordingly, readers will not only gain a more in-depth understanding of the history of the field, but also of the political, economic, societal, cultural and scientific development of China in modern times.
The Fozu tongji by Zhipan (ca. 1220-1275) is a key text of Chinese Buddhist historiography. In the present volume Thomas Jülch presents his translation of the first five juan of the massive annalistic part. Rich annotations clarify the backgrounds to the historiographic contents, presented by Zhipan in a highly essentialized style. For the historical traditions the sources Zhipan refers to are meticulously identified. In those cases where the accounts presented are inaccurate or imprecise, Jülch points out how the relevant matter is depicted in the sources Zhipan relies on. With this carefully annotated translation of Fozu tongji, juan 34-38, Thomas Jülch enables an indepth understanding of a key text of Chinese Buddhist historiography.