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The Odyssey of China's Imperial Art Treasures traces the three-thousand-year history of the emperor's imperial collection, from the Bronze Age to the present. The tortuous story of these treasures involves a succession of dynasties, invasion and conquest, and civil war, resulting in valiant attempts to rescue and preserve the collection. Throughout history, different Chinese regimes used the imperial collection to bolster their own political legitimacy, domestically and internationally. The narrative follows the gradual formation of the Peking Palace Museum in 1925, then its hasty fragmentation as large parts of the collection were moved perilously over long distances to escape wartime destruction, and finally its formal division into what are today two Palace Museums-one in Beijing, the other in Taipei. Enlivened by the personalities of those who cared for the collection, this textured account of the imperial treasures highlights magnificent artworks and their arduous transit through politics, war, and diplomatic reconciliations. Over the years, control of the collections has been fiercely contested, from early dynasties through Mongol and Japanese invaders to Nationalist and Communist rivals- a saga that continues today. This first book-length investigation of the imperial collections will be of great interest to China scholars, historians, and Chinese art specialists. Its tales of palace intrigue will fascinate a wide variety of readers.
Chinese classical furniture is esteemed throughout the world for its beauty, functionalism, and influence on contemporary design aesthetics. Sarah Handler's stunningly illustrated volume traces Chinese hardwood furniture from its earliest origins in the Shang dynasty (c. 1500 to c. 1050 B.C.) to the present. She offers a fascinating and poetic view of Chinese furniture as functional sculpture, a fine art alongside the other Chinese arts of calligraphy, architecture, painting, and literature. Handler, a widely respected scholar of Chinese furniture, uses her knowledge of Chinese social, political, and economic history to provide a backdrop for understanding the many nuances of this art form. Drawing on literary and visual evidence from excavated materials, written texts, paintings, prints, and engravings, she discusses how people lived, their notions of hierarchy, and their perceptions of space. Her descriptions of historical developments, such as the shift from mats to chairs, evoke the psychological and sociological ramifications. The invention of a distinctive way to support and contain people and things within the household is one of China's singular contributions, says Handler. With more than three hundred exquisite illustrations, many in color, Handler's comprehensive study reveals "the magical totality of Chinese classical furniture, from its rich surfaces and shrewd proportions down to the austere soul of art that resides in the hardwood interiors." Austere Luminosity recognizes Chinese classical furniture as one of China's premier arts, unique in the furniture traditions of the world.
Offering an introduction to the world's seas as a platform for global exchange and connection, Michael North offers an impressive world history of the seas over more than 3,000 years. Exploring the challenges and dangers of the oceans that humans have struggled with for centuries, he also shows the possibilities and opportunities they have provided from antiquity to the modern day. Written to demonstrate the global connectivity of the seas, but also to highlight regional maritime power during different eras, A World History of the Seas takes sailors, merchants and migrants as the protagonists of these histories and explores how their experiences and perceptions of the seas were consolidated through trade and cultural exchange. Bringing together the various maritime historiographies of the world and underlining their unity, this book shows how the ocean has been a vital and natural space of globalization. Carrying goods, creating alliances, linking continents and conveying culture, the history of the ocean played a central role in creating our modern globalized world.
Pastimes is the first book in English on Chinese jinshi, or antiquarianism, the pinnacle of traditional connoisseurship of ancient artifacts and inscriptions. As a scholarly field, jinshi was inaugurated in the Northern Song (960–1127) and remained popular until the early twentieth century. Literally the study of inscriptions on bronze vessels and stone steles, jinshi combined calligraphy and painting, the collection of artifacts, and philological and historical research. For aficionados of Chinese art, the practices of jinshi offer a fascinating glimpse into the lives of traditional Chinese scholars and artists, who spent their days roaming the sometimes seamy world of the commercial art market before attending elegant antiquarian parties, where they composed poetic tributes to their ancient objects of obsession. And during times of political upheaval, such as the nineteenth century, the art and artifact studies of jinshi legitimatized reform and contributed to a dynamic and progressive field of learning. Indeed, the paradox of jinshi is that it was nearly as venerable as the ancient artifacts themselves, and yet it was also subject to continual change. This was particularly true in the last decades of the Qing (1644–1911) and the first decades of the twentieth century, when a diverse group of cosmopolitan and science-minded scholars contributed to what was considered at the time to be a “revolution in traditional linguistics.” These antiquarians transformed how historians used literary sources and material artifacts from the ancient past and set the stage for a new understanding of the longevity and cohesiveness of Chinese history. The history of jinshi offers insights that are relevant to Chinese cultural and intellectual history, art history, and politics. Scholars of the modern period will find the resiliency and continuing influence of jinshi to be an important counterpoint to received views on the trajectory of Chinese cultural and intellectual change. We are accustomed to think that Chinese modernity originated in the great tumult of the turn-of-the-century encounter with foreign learning. The example of jinshi reveals the significance of local transformations that occurred much earlier in the nineteenth century. Its combination of art and historiography reveals the full range of scholarly appreciation for the past and its artifacts and provides a unique perspective from which to define “modern China” and illuminate its indigenous origins.
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.
Now in paperback This outstanding and original book, presented here with a new preface, examines the history of material culture in early modern China. Craig Clunas analyzes “superfluous things”—the paintings, calligraphy, bronzes, ceramics, carved jade, and other objects owned by the elites of Ming China—and describes contemporary attitudes to them. He informs his discussions with reference to both socio-cultural theory and current debates on eighteenth-century England concerning luxury, conspicuous consumption, and the growth of the consumer society.
In this seventeenth-century Chinese novel, Han Xiangzi, best known as one of the Eight Immortals, seeks and achieves immortality and then devotes himself to converting his materialistic, politically ambitious Confucian uncle—Han Yu, a real historical figure—to Daoism. Written in lively vernacular prose interspersed with poems and songs, the novel takes its readers across China, to the heavens, and into the underworld. Readers listen to debates among Confucians, Daoists, and Buddhists and witness trials of faith and the performance of magical feats. In the mode of the famous religious novel Journey to the West, The Story of Han Xiangzi uses colorful characters, twists of plot, witty dialogue, and action suitable for a superhero comic book to convey its religious message—that worldly life is ephemeral and that true contentment can be found only through Daoist cultivation. This is the first translation into any Western language of Han Xiangzi quanzhuan (literally, The Complete Story of Han Xiangzi). On one level, the novel is a delightful adventure; on another, it is serious theology. Although The Story of Han Xiangzi’s irreverent attitude toward the Confucian establishment prevented its acceptance by literary critics in imperial China, it has remained popular among Chinese readers for four centuries. Philip Clart’s introduction outlines the Han Xiangzi story cycle, presents Yang Erzeng in his social context, assesses the literary merits and religious significance of the text, and explores the theory and practice of inner alchemy. This unabridged translation will appeal to students of Chinese literature and to general readers who enjoy international fiction, as well as to readers with an interest in Daoism.