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The Chinese art collection of the Lee Kong Chian Art Museum, National University of Singapore, is presented in this catalogue published to commemorate the Museum's official opening in August 1990. There are some 540 plates (350 in colour) giving prominent display to the collection, which has been organised into four main areas of Chinese art - Ceramics, Bronze, Archaic Jade, and Painting and Calligraphy. The ceramics section is the most extensive, covering some 6,000 years of Chinese history and representing a fairly complete cross-section of the various types of ceramic ware found through the millennia. Around 80 per cent of these pieces were acquired in the last six years, in the light of recent archaeological discoveries. Many of these are comparable to those found in famous collections the world over. There is also a brief introductory essay on each of the four sections.
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Emperors' Treasures features artworks from the renowned National Palace Museum, Taipei. It encompasses paintings, calligraphy, bronzes, ceramics, lacquer ware, jades, and textiles exemplifying the finest craftsmanship and imperial taste. The Chinese art book book explores the identities of eight Chinese rulers—seven emperors and one empress—who reigned from the early 12th through early 20th centuries. They are portrayed in a story line that highlights artworks of their eras, from the dignified Song to the coarse yet subtle Yuan, and from the brilliant Ming until the final, dazzling Qing period. Emperors' Treasures examines each ruler's distinct contribution to the arts and how each developed his or her aesthetic and connoisseurship.
China can boast a history of art lasting 5,000 years and embracing a huge diversity of images and objects - jade tablets, painted silk handscrolls and fans, ink and lacquer painting, porcelain-ware, sculptures, and calligraphy. They range in scale from the vast 'terracotta army' with its 7,000or so life-size figures, to the exquisitely delicate writing of fourth-century masters such as Wang Xizhin and his teacher, 'Lady Wei'. But this rich tradition has not, until now, been fully appreciated in the West where scholars have focused their attention on sculpture, downplaying art more highlyprized by the Chinese themselves such as calligraphy. Art in China marks a breakthrough in the study of the subject. Drawing on recent innovative scholarship and on newly-accessible studies in China itself Craig Clunas surveys the full spectrum of the visual arts in China. He ranges from the Neolithic period to the art scene of the 1980s and 1990s,examining art in a variety of contexts as it has been designed for tombs, commissioned by rulers, displayed in temples, created for the men and women of the educated ilite, and bought and sold in the marketplace. Many of the objects illustrated in this book have previously been known only to a fewspecialists, and will be totally new to a general audience.
This book explores the ways in which Nordic private collectors displayed their collections of Chinese objects in their homes. This leads to a reconsideration of how to define collecting and display by analysing the difference between objects serving as decorative or collectible items, while tracing collecting and display trends of the twentieth century. Minna Törmä examines four Scandinavian collections as case studies: Kustaa Hiekka, Sophus Black, Osvald Sirén and Marie-Louise and Gunnar Didrichsen, all of whom had professional backgrounds (a jeweler, two businessmen and a scholar) and for whom collecting became a passion and an educational endeavour. This book will be of interest to scholars in art history, museum studies, Chinese studies and design history.