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The Resonance of Qin in East Asian Art explores the rich cultural resonance of the qin (chin), a stringed instrument whose 2,000-year history in East Asia is traced in the almost 40 paintings, sculptures, drawings, woodblock prints, and domestic and scholar's objects inspired by its forms. This exhibition examines the qin's varying roles in East Asian cultures, and reveals how its unique aesthetic became associated with scholarly ideals and the pursuit of enlightenment.
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.
The Other Classical Musics will help both students and general readers to appreciate musical traditions mostly unfamiliar to them.
List of transactions, v. 1-41 in v. 41.
This lovely catalog accompanies an exhibition of the same name held at the Metropolitan Museum of Art in New York City in 2002-2003. The exhibition features Japanese calligraphy and paintings and sculpture of Buddhist and Shinto themes. Full descriptive entries accompany the plates of each work. Three essays introduce the catalog: a history of the collection and an essay on viewing calligraphy by Barnet and Burto, and an introduction to the calligraphy in their collection by Murase (a consultant on Japanese art at the museum). Annotation copyrighted by Book News, Inc., Portland, OR
The ICTM Study Group on Music Archaeology was founded in the early 1980s by Ellen Hickmann, John Blacking, Mantle Hood and Cajsa S. Lund. This is the first volume of the new anthology series published by the study group, turning to the topic of music and religion in past cultures. Each volume of the series is composed of concise case studies, bringing together the world's foremost researchers on a particular subject, reflecting the wide scope of music-archaeological research world-wide. The series draws in perspectives from a range of different disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.
“A magisterial book” of nearly five hundred poems from some of history’s greatest Chinese poets, translated and edited by a renowned poet and scholar (New Republic). The Chinese poetic tradition is the largest and longest continuous tradition in world literature. This rich and far-reaching anthology of nearly five hundred poems provides a comprehensive account of its first three millennia (1500 BCE to 1200 CE), the period during which virtually all its landmark developments took place. Unlike earlier anthologies of Chinese poetry, Hinton’s book focuses on a relatively small number of poets, providing selections that are large enough to re-create each as a fully realized and unique voice. New introductions to each poet’s work provide a readable history, told for the first time as a series of poetic innovations forged by a series of master poets. “David Hinton has . . . lured into English a new manner of hearing the great poets of that long glory of China’s classical age. His achievement is another echo of the original, and a gift to our language.” —W. S. Merwin
Catalog of the first exhibition to consider the remarkable endurance and symbolic resonance of the horse in Chinese art, history, and philosophy. It features almost 30 works, including 13 sculptures from the Han-Tang dynasties, and hand scrolls, hanging scrolls, and album leaves from the Tang-Qing dynasties. By examining the tremendous range of equine depictions in Chinese art, it reveals the horse as an exceptionally fluid and potent means for the continual construction and reconstruction of Chinese identity, a figure of enduring fascination and value given its usefulness -- both real and symbolic -- to humankind.