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This book investigates the issue of conceptual originality in art criticism of the seventeenth century, a period in which China dynamically reinvented itself. In art criticism, the term which was called upon to indicate conceptual originality more than any other was "qi", literally, "different"; but secondarily, "odd," like a number and by extension, "the novel," and "extraordinary." This work finds that originality, expressed through visual difference, was a paradigmatic concern of both artists and critics. Burnett speculates on why many have dismissed originality as a possible "traditional Chinese" value, and the ramifications this has had on art historical understanding. She further demonstrates that a study of individual key terms can reveal social and cultural values and provides a linear history of the increase in critical use of "qi" as "originality" from the fifth through the seventeenth centuries, exploring what originality looks like in artworks by members of the gentry elite and commoner classes, and explains how the value lost its luster at the end of the seventeenth century.
A follow-up to Early Chinese Religion (Brill, 2009-10), Modern Chinese Religion focuses on the third period of paradigm shift in Chinese cultural and religious history, from the Song to the Yuan (960-1368 AD). As in the earlier periods, political division gave urgency to the invention of new models that would then remain dominant for six centuries. Defining religion as “value systems in practice”, this multi-disciplinary work shows the processes of rationalization and interiorization at work in the rituals, self-cultivation practices, thought, and iconography of elite forms of Buddhism, Daoism, and Confucianism, as well as in medicine. At the same time, lay Buddhism, Daoist exorcism, and medium-based local religion contributed each in its own way to the creation of modern popular religion. With contributions by Juhn Ahn, Bai Bin, Chen Shuguo, Patricia Ebrey, Michael Fuller, Mark Halperin, Susan Huang, Dieter Kuhn, Nap-yin Lau, Fu-shih Lin, Pierre Marsone, Matsumoto Kôichi, Joseph McDermott, Tracy Miller, Julia Murray, Ong Chang Woei, Fabien Simonis, Dan Stevenson, Curie Virag, Michael Walsh, Linda Walton, Yokote Yutaka, Zhang Zong
Winner, 2023 Choice Outstanding Academic Title Our relationship with things abounds with paradoxes. People assign value to objects in ways that are often deeply personal or idiosyncratic yet at the same time rooted in specific cultural and historical contexts. How do things become meaningful? How do our connections with the world of things define us? In Ming and Qing China, inquiry into things and their contradictions flourished, and its depth and complexity belie the notion that material culture simply reflects status anxiety or class conflict. Wai-yee Li traces notions of the pleasures and dangers of things in the literature and thought of late imperial China. She explores how aesthetic claims and political power intersect, probes the objective and subjective dimensions of value, and questions what determines authenticity and aesthetic appeal. Li considers core oppositions—people and things, elegance and vulgarity, real and fake, lost and found—to tease out the ambiguities of material culture. With examples spanning the late sixteenth to the mid-eighteenth centuries, she shows how relations with things can both encode and resist social change, political crisis, and personal loss. The Promise and Peril of Things reconsiders major works such as The Plum in the Golden Vase, The Story of the Stone, Li Yu’s writings, and Wu Weiye’s poetry and drama, as well as a host of less familiar texts. It offers new insights into Ming and Qing literary and aesthetic sensibilities, as well as the intersections of material culture with literature, intellectual history, and art history.
In Painting Architecture: Jiehua in Yuan China, 1271–1368, Leqi Yu has conducted comprehensive research on jiehua or ruled-line painting, a unique painting genre in fourteenth-century China. This genre relies on tools such as rulers to represent architectural details and structures accurately. Such technical consideration and mechanical perfection linked this painting category with the builder’s art, which led to Chinese elites’ belittlement and won Mongol patrons’ admiration. Yu suggests that painters in the Yuan dynasty made new efforts towards a unique modular system and an unsurpassable plain-drawing tradition. She argues that these two strategies made architectural paintings in the Yuan dynasty entirely different from their predecessors, as well as making the art form extremely difficult for subsequent painters to imitate. “Architecture has been a subject of Chinese painting for two millennia, but has remained elusive. Painting Architecture explains the reasons as well as why the thirteenth and fourteenth centuries are pivotal. The book also translates the vast writings on architectural painting, places the paintings in historical context, and assesses the relation between the paintings and actual buildings. The superior scholarship and original interpretation ensure that paintings of architecture will be part of future discourse about Chinese painting.” —Nancy Steinhardt, professor, University of Pennsylvania “Focusing on the development of jiehua in the fourteenth century when the Mongols ruled China, Yu’s book raises issues beyond the field of painting history, including architectural history, aesthetics, and social-historical studies. It is a long-awaited contribution to a rarely studied painting genre and an admirable accomplishment of multidisciplinary research on Chinese art.” —Qianshen Bai, associate professor emeritus, Boston University
Since at least the early sixth century C.E., ink rubbings of stone, metal, clay tiles, and wood inscriptions and pictorial images have been used in China to make precise copies of culturally valued material. These paper copies sometimes are all that remain of original works that have become illegible through erosion, or that have been destroyed by war or development, or have been rendered inaccessible through events such as flooding resulting from dam construction. Chinese rubbing techniques are used throughout East Asia to create copies that often also are prized in themselves as works of art. Despite the primary importance of this technology to history, art, archaeology, printing, and many other fields of knowledge, Black Tigers is the first comprehensive study of rubbings in a Western language, and as such will be welcomed by both scholars and collectors. In Black Tigers, Kenneth Starr recounts what he has seen and learned in fifty years of fascination with rubbings and travels to China in search of the early inscriptions from which they came. The book is a history of rubbings, a guide to connoisseurship, and a technical handbook on the materials and techniques used to make rubbings. Now readers of English, with the author as their affable guide, can gain rich insight into a rigorous discipline of classical scholarship, the way in which traditional scholars viewed their world, and some of the exquisite subtleties of Chinese high culture and connoisseurship. Black Tigers will be an essential resource for students of Chinese art, history, calligraphy, archaeology, and the history of printing.
Joining the Global Public examines early Chinese-language newspapers and analyzes their impact on China's modernization. Exploring a range of media such as regular dailies, illustrated weeklies, and entertainment papers, contributors look at factors that influenced the nature of these publications, including foreign models, foreign managers, and a first generation of Chinese journalists, editorialists, and "newspainters." With analyses demonstrating how the growth of popular media would enable China to join the global public, contributors also examine the impact of inserting an alien medium—a newspaper—into a Chinese universe and note the spread of new attitudes and values as entertainment papers filled the space of a newly created urban leisure. A superb and pioneering documentation of late nineteenth- and early twentieth-century Chinese-language media, Joining the Global Public serves as an introduction to this important yet little-studied part of China's modernization.
Published in conjunction with an exhibition held at the Metropolitan Museum of Art, New York, Sept. 28, 2010-Jan. 2, 2011.
The essays in this volume seek to flesh out the diversity of Chinese textual production during the period spanning the tenth and fourteenth centuries when printing became a widely used technology. By exploring the social and political relations that shaped the production and reproduction of printed texts, the impact of intellectual and religious formations on book production, the interaction between print and other media, readership, and the growth of collections, the contributors offer the first comprehensive examination of the cultural history of book production in the first 500 years of the history of printing. In an afterword historian of the early modern European book, Ann Blair, reflects on the volume's implications for the comparative study of the impact of printing.
Winner, 2024 Geiss-Hsu Book Prize for Best First Book, Society for Ming Studies The goddess Guanyin began in India as the bodhisattva Avalokiteśvara, originally a male deity. He gradually became indigenized as a female deity in China over the span of nearly a millennium. By the Ming (1358–1644) and Qing (1644–1911) periods, Guanyin had become the most popular female deity in China. In Becoming Guanyin, Yuhang Li examines how lay Buddhist women in late imperial China forged a connection with the subject of their devotion, arguing that women used their own bodies to echo that of Guanyin. Li focuses on the power of material things to enable women to access religious experience and transcendence. In particular, she examines how secular Buddhist women expressed mimetic devotion and pursued religious salvation through creative depictions of Guanyin in different media such as painting and embroidery and through bodily portrayals of the deity using jewelry and dance. These material displays expressed a worldview that differed from yet fit within the Confucian patriarchal system. Attending to the fabrication and use of “women’s things” by secular women, Li offers new insight into the relationships between worshipped and worshipper in Buddhist practice. Combining empirical research with theoretical insights from both art history and Buddhist studies, Becoming Guanyin is a field-changing analysis that reveals the interplay between material culture, religion, and their gendered transformations.