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Spanning some 7000 years, 'Chinese Sculpture' explores a beautiful and diverse world of objects, many of which have only come to light in the later half of the 20th century. The authors analyse and present, mostly in colour, some 500 examples of Chinese sculpture.
Drawing on the British Museum's extensive collection, this book explores the traditional hierarchy of materials and techniques reaching back as far as the Han Dynasty in the third century BC. In the history and character of the works under scrutiny, this sumptuously illustrated book conveys an understanding of Chinese art in all its great variety.
Explains the origins, materials, and meaning of traditional art in China, and describes the development of painting, sculpture, calligraphy, architecture, and other media.
The Chinese Art Book is a beautifully packaged, authoritative, and unprecedented overview of Chinese art from its earliest dynasties to the contemporary generation of artists enlivening today's art world. 300 works represent every form of Chinese visual art, including painting, calligraphy, sculpture, ceramics, figurines, jade, bronze, gold and silver, photography, video, installation, and performance art. Full of surprises for readers of all levels, The Chinese Art Book breaks new ground by pairing works that speak to one another in unexpected ways, enlightening historical, stylistic and cultural connections. Concise descriptive essays place each work in context, while cross-references lead the reader on a fascinating journey through Chinese art history. The Chinese Art Book features an introductory essay by Colin Mackenzie, Senior Curator of Chinese Art at the Nelson-Akins Museum of Art, along with an accessible summary of Chinese political and cultural history, a comprehensive glossary defining technical terms, and an illustrated timeline.
This volume studies the evolution of Chinese art during the Qin and Han Dynasties, The Three Kingdoms, Eastern and Western Jin, and the Northern and Southern Dynasties. It traces the initial artistic vocabularies of Chinese calligraphy as well as the rapid development of the performing and the decorative arts. A General History of Chinese Art comprises six volumes with a total of nine parts spanning from the Prehistoric Era until the 3rd year of Xuantong during the Qing Dynasty (1911). The work provides a comprehensive compilation of in-depth studies of the development of art throughout the subsequent reign of Chinese dynasties and explores the emergence of a wide range of artistic categories such as but not limited to music, dance, acrobatics, singing, story telling, painting, calligraphy, sculpture, architecture, and crafts. Unlike previous reference books, A General History of Chinese Art offers a broader overview of the notion of Chinese art by asserting a more diverse and less material understanding of arts, as has often been the case in Western scholarship.
As belief in the Buddha grew and his teachings were transmitted across Asia, Buddhist images, scriptures, and relics were duplicated and reduplicated to satisfy the needs of increasing numbers of the faithful. Yet how were these countless copies of sacred objects able to retain their authenticity and efficacy? Authentic Replicas explores how Buddhists in medieval China (seventh to twelfth centuries) solved this conundrum through the use of traditional methods of replication such as stamping, mold casting, and woodblock printing to create objects that fulfilled the spiritual aspirations of those who possessed them. Setting aside Western notions about the relative value of copies versus the “original,” the book posits Buddhist ideas on what imbues an object with credibility and authority and offers fresh insights into the ways authenticity was represented and reproduced in the Chinese Buddhist context. Each section of the volume focuses on an area of artistic output to provide readers with a thorough grasp of the theological concepts underpinning each act of duplication. Part I looks at the replication of sutras to clarify how the spiritual value of a handwritten sutra differed from a printed one. In Part II, clay tablets, woodblock prints, silk paintings, and cave murals are examined to trace iconographic lineages and uncover the divine identity in each new replica. The chapters in Part III describe in detail the copying of the Buddha’s bodily relics and the endlessly repeated votive act of burying these in stupas. Of particular significance is the visual and textual vocabulary used on reliquaries to persuade adherents to believe in the actual presence of the Buddha concealed inside. Deftly weaving together data and research from several disciplines, including Buddhist studies, archaeology, and art history, Authentic Replicas vividly conveys how replication lay at the heart of Buddhist worship in medieval China, offering a new understanding of how religious belief guided the artistic output of an entire age.
Invaluable resource for anyone who wants to understand contemporary Chinese art, one of the most fascinating art scenes of the late 20th and early 21st centuries.