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Collecting China is a unique collection of essays that brings together theories of materiality and what collecting has meant to various peoples over time. Collecting China grew out of a simple question: how does a thing become Chinese? Fifteen essays explore this question from different angles, ranging from close examination of world-renowned private collections to critical reinterpretations of historical writings.
Goods from the East focuses on the fine product trade's first Global Age: how products were made, marketed and distributed between Asia and Europe between 1600 and 1800. It brings together established scholars as well as new, to provide a full comparative and connective study of this trade.
Komaroff (curator of Islamic Art, Los Angeles County Museum of Art) and Carboni (curator of Islamic Art, Metropolitan Museum of Art) produced this fine catalog to accompany a major show of Ilkhanid (as the Mongol dynasty was called after conversion to Islam) art exhibited at the authors' museums in New York and Los Angeles in 2002-2003. Most of the manuscripts, metalwork, textiles, ceramics, and other finely decorated objects were created in Iran. Many objects are also included from the Yuan Dynasty in China, during which the Mongols ruled. Eight full-length essays are built around the objects of the exhibition and other works, all depicted in color. The essays describe the history, culture, courtly life, artistic exchanges, religious art, arts of the book, and creation of a new visual language. Distributed by Yale U. Press. Annotation copyrighted by Book News, Inc., Portland, OR
Treasures Rediscovered focuses on a group of 22 stone devotional objects and architectural fragments that collectively represent major developments in Chinese religion and mortuary culture, from the Han (206 BCE-220 CE) through the Tang dynasty (618-907). The major emphasis is on works from the sixth century, a period of great intellectual ferment and artistic transformation, above all in the Buddhist arts. The sculptures included range from a small personal votive icon to large temple carvings. The majority are Buddhist icons in various formats, objects of devotion that were installed in temples and cave chapels.
In the thirteenth century the Mongols created a vast, transcontinental empire that intensified commercial and cultural contact throughout Eurasia. From the outset of their expansion, the Mongols identified and mobilized artisans of diverse backgrounds, frequently transporting them from one cultural zone to another. Prominent among those transported were Muslim textile workers, resettled in China, where they made clothes for the imperial court. In a meticulous and fascinating account, the author investigates the significance of cloth and colour in the political and cultural life of the Mongols. Situated within the broader context of the history of the Silk Road, the primary line in East-West cultural communication during the pre-Muslim era, the study promises to be of interest not only to historians of the Middle East and Asia, but also to art historians and textile specialists.
The material presented in this volume significantly extends what has been known to date of Asian textiles produced from the Tang (618-907) through the early Ming period (late 14th-early 15th century), and new documentation gives full recognition to the importance of luxury textiles in the history of Asian art. Costly silks and embroideries were the primary vehicle for the migration of motifs and styles from one part of Asia to another, particularly during the Tang and Mongol (1207-1368) periods. In addition, they provide material evidence of both the cultural and religious ties that linked ethnic groups and the impetus to artistic creativity that was inspired by exposure to foreign goods.