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Among the most revered and beloved artworks in China are ceramics—sculptures and vessels that have been utilized to embellish tombs, homes, and studies, to drink tea and wine, and to convey social and cultural meanings such as good wishes and religious beliefs. Since the eighth century, Chinese ceramics, particularly porcelain, have played an influential role around the world as trade introduced their beauty and surpassing craft to countless artists in Europe, America, and elsewhere. Spanning five millennia, the Metropolitan Museum’s collection of Chinese ceramics represents a great diversity of materials, shapes, and subjects. The remarkable selections presented in this volume, which include both familiar examples and unusual ones, will acquaint readers with the prodigious accomplishments of Chinese ceramicists from Neolithic times to the modern era. As with previous books in the How to Read series, How to Read Chinese Ceramics elucidates the works to encourage deeper understanding and appreciation of the meaning of individual pieces and the culture in which they were created. From exquisite jars, bowls, bottles, and dishes to the elegantly sculpted Chan Patriarch Bodhidharma and the gorgeous Vase with Flowers of the Four Seasons, How to Read Chinese Ceramics is a captivating introduction to one of the greatest artistic traditions in Asian culture.
Presents 50 selected highlights of this world-renowned collection ... The accompanying text gives brief details and draws out their most significant features"--Cover flap.
This book is one of the first few books written in English on Chaozhou culture and history. It compiles information from Chinese and English sources including archive material, newspapers, academic works and publications. It presents a panorama view of the Teochews in Singapore. The book is divided into three sections. The first section covers the history of Chaozhou, the Chaozhou culture, the Teochew ethnicity and the migration of the Teochew people to Southeast Asia. The second section covers the history, activities and contributions of the Teochews in Singapore from the 19th century. The third section covers core elements of the Chaozhou culture, including customs and practices, cuisine and tea culture, performing arts and craftworks. With carefully selected photos, pictures and comprehensive accounts, this book takes the general readers on a fascinating journey of the Teochew heritage. For those who wish to continue learning more about Chaozhou culture and history, a selected bibliography is provided at the end of the book.
In Colours and Contrast Clarence Eng covers the social history of architectural ceramics in China, their development both aesthetically (as ornament) and technically (as durable, protective components) in ancient Chinese architecture from palaces and temples to pagodas and screen walls.
Including a representative range of ceramics from the fifth to the twentieth century and items in various other materials, the collection of Korean art in the Fitzwilliam Museum, Cambridge, is one of the finest outside of the Far East. Although Korea's ceramics equal China's in quality and technique, they are far less known. Compiled by Yun Yong-i and edited by Regina Krahl, this richly illustrated catalog provides detailed information on each object, as well as background studies on Korean culture and ceramic technology.
This volume examines the ways in which an intellectual vogue for a mythic China was a constituent element of British modernism. Traditionally defined as a decorative style that conjured a fanciful and idealized notion of China, chinoiserie was revived in in London's avant-garde circles, the Bloomsbury group, the Vorticists and others, who like their eighteenth-century forebears, turned to China as a cultural and aesthetic utopia. As part of Modernism's challenge to the 'universality' of so-called Western values and aesthetics, the turn to China would contribute much more than has been acknowledged to Modernist thinking. As these 10 new chapters demonstrate, China as an intellectual and aesthetic utopia dazzled intellectuals and aesthetes, at the same time the consumption of Chinese exoticism became commercialized. The essays show that from cutting-edge Modernist chic to mass culture and consumer products, the vogue for chinoiserie style and motifs permeated the art and design of the period. --Provided by publisher.