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The first comprehensive assemblage in the West of paintings on this subject, the Robert H. Ellsworth Collection comprises works in the classical Chinese medium of ink on paper and in the traditional formats of scrolls, album leaves, and fans."--BOOK JACKET.
"Pang Yuanji (1864-1949) was the collector from China with not only the largest number of high-quality antique paintings but also the most comprehensive and scholarly record of his collection. This is the first study that takes the innovative and unique approach to collection analysis by quantifying Pang's collection and comparing it to a selection of contemporaneous private collectors. In doing so, it shows how their tastes and interests were all shaped by the same Qing canon. More broadly, it explains that Pang did not merely absorb this canon, but then also purposefully and systematically used it and his collection to protect China's traditions into an uncertain future"--
Beyond Representation surveys Chinese painting and calligraphy from the eighth to the fourteenth century, a period during which Chinese society and artistic expression underwent profound changes. A fourteenth-century Yuan dynasty (1279 - 1368) literati landscape painting presents a world that is totally different from that portrayed in the monumental landscape images of the early Sung dynasty (960 - 1279). To chronicle and explain the evolution from formal representation to self-expression is the purpose of this book. Wen C. Fong, one of the world's most eminent scholars of Chinese art, takes the reader through this evolution, drawing on the outstanding collection of Chinese painting and calligraphy in The Metropolitan Museum of Art, New York. Focusing on 118 works, each illustrated in full color, the book significantly augments the standard canon of images used to describe the period, enhancing our sense of the richness and complexity of artistic expression during this six-hundred-year era.
"Published in conjunction with the exhibition Alternative Dreams: 17th-Century Chinese Paintings from the Tsao Family Collection at the Los Angeles County Museum of Art, Los Angeles, California (august 7 through December 4, 2016)--Colophon.
This book celebrates the most important collection of 17th-century Chinese porcelain in the world, assembled by the distinguished British diplomat Sir Michael Butler. His passion for porcelain is clearly reflected in the over eight hundred pieces he collected and lived with at his home and private museum in Dorset. The pots (as Sir Michael called them), many of extreme rarity or exquisite quality, give testimony to the incredible depth of knowledge he acquired over five decades and his outstanding contribution to research and education in this previously neglected field of study. This lavish and comprehensive collection covers most types of porcelain produced at Jingdezhen, in Jiangxi province, during the 17th century. The variety of the pieces carefully acquired by Sir Michael reflects the great innovative spirit of the highly skilled Jingdezhen potters and painters at a time when they were released from the controls of Imperial patronage, between the end of the reign of the Ming Emperor Wanli in 1620 and the re-establishment of the Imperial kilns by the Qing Emperor Kangxi in 1683. It is a study collection of porcelain unrivalled in its breath and rarity that demonstrates the stylistic and qualitative evolution which occurred in Chinese porcelain production during the 17th century. An introduction written by Katharine Butler tells the fascinating story of the circumstances that encouraged her father to acquire, collect and passionately study Chinese porcelain of the 17th century; how he found rare pieces with dates, interesting inscriptions, seal marksor narrative scenes; and how the collection and his scholarly publications came to be internationally renowned. The core of the book is composed of nine sections presenting the main categories of porcelains in the collection: Late Ming, High Transitional, Shunzhi, Early Kangxi, Mid-Late Kangxi, Monochromes and Famille Verte, as well as disputed pieces. Some of the highlights are the extremely rare High Transitional pieces painted only in overglaze enamels dating to the Chongzhen reign, c.1640-43; the first piece acquired by Sir Michael, a green enamel winepot, dating to the early Kangxi reign, c.1665-70; a group of rare dated Zhonghe Tang pieces painted in underglaze blue and red, and an early Kangxi basin finely painted in underglaze blue and red with a Master of the Rocks landscape, dating to c.1670-75. Leaping the Dragon Gate refers to the symbolic metamorphosis from a humble carp to a mighty dragon - the most powerful of the Four Divine Creatures - that a student would undergo on succeeding in the Jinshi or Imperial civil service examinations. Passing these examinations required years, sometimes decades, of enormous effort to acquire the requisite educational merit and success was very rare. It is a worthy metaphor for Sir Michael's scholarly achievement. This 384-page book with over 600 colour illustrations is a catalogue raisonné of almost his entire 17th century porcelain collection, including many previously unpublished pieces. In the spirit of keeping the family legacy of acquisition and scholarship alive, the authors have included a few important, recently purchased pieces and also have revised and expanded the list of all known dated pieces of 17th Century Chinese porcelain in the world that Sir Michael compiled in his 1992 USA exhibition catalogue.
China’s increasing prominence on the global stage has caused consternation and controversy among Western thinkers, especially since the financial crisis of 2008. But what do Chinese intellectuals themselves have to say about their country’s newfound influence and power? Voices from the Chinese Century brings together a selection of essays from representative leading thinkers that open a window into public debate in China today on fundamental questions of China and the world—past, present, and future. The voices in this volume include figures from each of China’s main intellectual clusters: liberals, the New Left, and New Confucians. In genres from scholarly analyses to social media posts, often using Party-approved language that hides indirect criticism, these essayists offer a wide range of perspectives on how to understand China’s history and its place in the twenty-first-century world. They explore questions such as the relationship of political and economic reforms; the distinctiveness of China’s history and what to take from its traditions; what can or should be learned from the West; and how China fits into today’s eruption of populist anger and challenges to the global order. The fifteen original translations in this volume not only offer insight into contemporary China but also prompt us to ask what Chinese intellectuals might have to teach Europe and North America about the world’s most pressing problems.
Richly illustrated with 200 black-and-white and 32 color plates, this stimulating collection surveys the full range of 20th-century Chinese painting, covering all the schools and major artists, both within the People's Republic and elsewhere. Chinese artists now draw their inspirations from an amazing variety of subjects--airplanes and automobiles, Vietnamese refugees and Beijing opera, ancient cave murals and historical figures--and they have developed new techniques and formats that have greatly expanded the range of Chinese paintings. Their work reveals how traditional techniques, when reintroduced into unexpected contexts, can bring about strikingly new results. In light of the tremendous variety of artistic impulses and stylistic approaches that exist in 20th-century Chinese painting, and the rapidity with which these changes have occurred, it is quite remarkable that China's artistic tradition has not only been able to sustain itself, but continues to evolve in new and exciting directions. This beautiful volume captures the vibrancy of a national art that is stunning in its complexity and diversity.
The recipient of the Kluge Prize for lifetime achievement in the humanities and the Tang Prize for "revolutionary research" in Sinology, Ying-shih Yü is a premier scholar of Chinese studies. Chinese History and Culture volumes 1 and 2 bring his extraordinary oeuvre to English-speaking readers. Spanning two thousand years of social, intellectual, and political change, the essays in these volumes investigate two central questions through all aspects of Chinese life: what core values sustained this ancient civilization through centuries of upheaval, and in what ways did these values survive in modern times? From Ying-shih Yü's perspective, the Dao, or the Way, constitutes the inner core of Chinese civilization. His work explores the unique dynamics between Chinese intellectuals' discourse on the Dao, or moral principles for a symbolized ideal world order, and their criticism of contemporary reality throughout Chinese history. Volume 2 of Chinese History and Culture completes Ying-shih Yü's systematic reconstruction and exploration of Chinese thought over two millennia and its impact on Chinese identity. Essays address the rise of Qing Confucianism, the development of the Dai Zhen and Zhu Xi traditions, and the response of the historian Zhang Xuecheng to the Dai Zhen approach. They take stock of the thematic importance of Cao Xueqin's eighteenth-century masterpiece Honglou meng (Dream of the Red Chamber) and the influence of Sun Yat-sen's Three Principles of the People, as well as the radicalization of China in the twentieth century and the fundamental upheavals of modernization and revolution. Ying-shih Yü also discusses the decline of elite culture in modern China, the relationships among democracy, human rights, and Confucianism, and changing conceptions of national history. He reflects on the Chinese approach to history in general and the larger political and cultural function of chronological biographies. By situating China's modern encounter with the West in a wider historical frame, this second volume of Chinese History and Culture clarifies its more curious turns and contemplates the importance of a renewed interest in the traditional Chinese values recognizing common humanity and human dignity.