Download Free The Figure Paintings Of Tang Yin 1470 1524 Book in PDF and EPUB Free Download. You can read online The Figure Paintings Of Tang Yin 1470 1524 and write the review.

Published in conjunction with a December 1999 symposium held at the Metropolitan Museum of Art, New York, and an exhibition, "The Artist as Collector: Masterpieces of Chinese Painting from the C.C. Wang Family Collection." Twelve contributions give dissenting opinions regarding a book recently published by The Museum titled Along the Riverbank, which seeks to attribute the painting called "Riverbank" to the 10th-century landscape master Dong Yuan--an attribution that would call for the rewriting of early Chinese painting history. This volume contains 239 bandw illustrations to support the contributors' efforts to explain their opinions. Annotation copyrighted by Book News, Inc., Portland, OR
Chinese Painting: An Intellectual History provides a panorama of Chinese painting from primitive times to the Qing Dynasty. But it is not a mere list of various theories, paintings, and painters in chronological order. Much space of the book is devoted to describing the political, cultural, and economic situations as well as the philosophical, literary, and academic elements that have influenced Chinese painting. In its presentation of painters, painting theories, schools, and genres, the book combines general introduction with case studies, and in so doing maintains an objective and unbiased stance. To controversial topics such as the role of Buddhism and Taoism and the division of Northern School and Southern School in landscape painting, the book analyzes political and cultural causes, but gives no definite answer, thus allowing interpretation by the readers. As the title suggests, the book is not an exclusive discussion on painting theories; otherwise, a more appropriate title would be “Chinese Painting Theories,” or “A History of Chinese Painting.” By “intellectual,” the author meant to include not only systematic painting theories and fragmented commentaries that are written in words, but also the implicit and intangible message or thoughts underlying the creation of Chinese painting. Therefore, reading this book is not only a way of appreciating Chinese painting, but also helps in understanding Chinese culture.
Based largely on nineteenth and twentieth-century representations of Chinese dress as traditional and unchanging, historians have long regarded fashion as something peculiarly Western. But in this surprising, sumptuously illustrated book, Antonia Finnane proves that vibrant fashions were a vital part of Chinese life in the late imperial era, when well-to-do men and women showed a keen awareness of what was up-to-date. Though foreigners who traveled to China in the early decades of the twentieth century came away with the impression that Chinese dress was simple and monotone, the key features of modern fashion were beginning to emerge, especially in Shanghai. Men in blue gowns donned felt caps and leather shoes, girls began to wear fitted jackets and narrow pants, and homespun garments gave way to machine-woven cloth, often made in foreign lands. These innovations marked the start of a far-reaching vestimentary revolution that would transform the clothing culture in urban and much of rural China over the next half century. Through Finnane's meticulous research, we are able to see how the close-fitting jacket and high collar of the 1911 Revolutionary period, the skirt and jacket-blouse of the May Fourth era, and the military style popular in the Cultural Revolution led to the variegated, globalized wardrobe of today. She brilliantly connects China's modernization and global visibility with changes in dress, offering a vivid portrait of the complex, subtle, and sometimes contradictory ways the people of China have worn their nation on their backs.