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A groundbreaking monograph on Yuan dynasty Buddhism, Illusory Abiding offers a cultural history of Buddhism through a case study of the eminent Chan master Zhongfeng Mingben. Natasha Heller demonstrates that Mingben, and other monks of his stature, developed a range of cultural competencies through which they navigated social and intellectual relationships. They mastered repertoires internal to their tradition—for example, guidelines for monastic life—as well as those that allowed them to interact with broader elite audiences, such as the ability to compose verses on plum blossoms. These cultural exchanges took place within local, religious, and social networks—and at the same time, they comprised some of the very forces that formed these networks in the first place. This monograph contributes to a more robust account of Chinese Buddhism in late imperial China, and demonstrates the importance of situating monks as actors within broader sociocultural fields of practice and exchange.
This volume on contemporary Asian art surveys art created in Asia or by Asian artists from the 1990s onwards. In four thematic chapters, the full scope of Asian art is covered, from calligraphy and ceramics, to installation and Internet art.
"Su Shih (1037-1101) is regarded as one of the greatest Chinese literary and intellectual figures not only of the Northern Sung but of all time. He has been the subject of many studies but, until now, none have attempted to address fully the vital question of Buddhism in his work. Beata Grant has uncovered among Su Shih's voluminous writings an extraordinarily wide range of Buddhist-related poems, hymns, essays, and other writings that attest to Buddhism's importance in the literary culture of this period. In Mount Lu Revisited, Grant significantly alters current perceptions of both Su Shih and of high Sung culture by showing the deep and pervasive influence of Buddhist language, imagery, and ideas on Su's work." "The study opens with a concise overview of the complex and multifaceted but little-studied world of eleventh-century Chinese Buddhism and Su's role within it. This is followed by a detailed study of the ways in which the nature of this great poet's engagement with Buddhism was shaped by the constantly changing circumstances of his life and how these changes are reflected in his art. What emerges is a vivid portrait of Su's struggle to resolve creatively the psychological, intellectual, and spiritual tensions in his life, including the classic tension between a world-centered Confucianism and Buddhism's promise of personal liberation. Because many of these struggles reflect larger ones taking place in eleventh-century China as a whole, the light thus shed on Su Shih's life and art also illumines the relation between religious and literary culture during this time. This original and comprehensive work will be of interest not only to students of Su Shih and Sung literature but to all those broadly interested in this important period of Chinese medieval history."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
"The intense piety of late T’ang essays on Buddhism by literati has helped earn the T’ang its title of the “golden age of Chinese Buddhism.” In contrast, the Sung is often seen as an age in which the literati distanced themselves from Buddhism. This study of Sung devotional texts shows, however, that many literati participated in intra-Buddhist debates. Others were drawn to Buddhism because of its power, which found expression and reinforcement in its ties with the state. For some, monasteries were extravagant houses of worship that reflected the corruption of the age; for others, the sacrifice and industry demanded by such projects were exemplars worthy of emulation. Finally, Buddhist temples could evoke highly personal feelings of filial piety and nostalgia.This book demonstrates that representations of Buddhism by lay people underwent a major change during the T’ang–Sung transition. These changes built on basic transformations within the Buddhist and classicist traditions and sometimes resulted in the use of Buddhism and Buddhist temples as frames of reference to evaluate aspects of lay society. Buddhism, far from being pushed to the margins of Chinese culture, became even more a part of everyday elite Chinese life."
"Only Robert Hymes could have produced such a vivid, fascinating portrait of a Taoist mountain, with its immortals, its clergy, and its devotees. Extensive translations of poetry, ghost stories, and canonical sources make it possible for the first time to glimpse the richness of life in a Taoist community in the distant past."--Valerie Hansen, author of The Open Empire: A History of China to 1600
This dual-language compilation of seven complete major works and many shorter pieces from the Confucian period through the Ch’ing dynasty will be indispensable to students of Chinese literature. Stephen Owen’s masterful translations and commentaries have opened up Chinese literary thought to theorists and scholars of other languages.
While many museums have ignored public art as a distinct arena of art production and display, others have – either grudgingly or enthusiastically – embraced it. Some institutions have partnered with public art agencies to expand the scope of special exhibitions; other museums have attempted to establish in-house public art programs. This is the first book to contextualize the collaborations between museums and public art through a range of essays marked by their coherence of topical focus, written by leading and emerging scholars and artists. Organized into three sections it represents a major contribution to the field of art history in general, and to those of public art and museum studies in particular. It includes essays by art historians, critics, curators, arts administrators and artists, all of whom help to finally codify the largely unwritten history of how museums and public art have and continue to intersect. Key questions are both addressed and offered as topics for further discussion: Who originates such public art initiatives, funds them, and most importantly, establishes the philosophy behind them? Is the efficacy of these initiatives evaluated in the same way as other museum exhibitions and programs? Can public art ever be a “permanent” feature in any museum? And finally, are the museum and public art ultimately at odds, or able to mutually benefit one another?
From ancient Egyptian royal cemeteries to great 18th-century English estates and the earth works of today, this volume spans the history of landscape design, revealing a great deal about the development of societies, and how cities, parks and gardens embody cultural values.
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.
"At last we have a wonderful book which makes us privy to these Chinese images of the West and lets us see how they were formed and how they changed over the last century and a half."—Orville Schell, author of Discos and Democracy