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Explains the origins, materials, and meaning of traditional art in China, and describes the development of painting, sculpture, calligraphy, architecture, and other media.
Beyond Representation surveys Chinese painting and calligraphy from the eighth to the fourteenth century, a period during which Chinese society and artistic expression underwent profound changes. A fourteenth-century Yuan dynasty (1279 - 1368) literati landscape painting presents a world that is totally different from that portrayed in the monumental landscape images of the early Sung dynasty (960 - 1279). To chronicle and explain the evolution from formal representation to self-expression is the purpose of this book. Wen C. Fong, one of the world's most eminent scholars of Chinese art, takes the reader through this evolution, drawing on the outstanding collection of Chinese painting and calligraphy in The Metropolitan Museum of Art, New York. Focusing on 118 works, each illustrated in full color, the book significantly augments the standard canon of images used to describe the period, enhancing our sense of the richness and complexity of artistic expression during this six-hundred-year era.
"Together the text and illustrations gradually reveal many of the major themes and characteristics of Chinese painting. To "read" these works is to enter a dialogue with the past. Slowly perusing a scroll or album, one shares an intimate experience that has been repeated over the centuries. And it is through such readings that meaning is gradually revealed."--BOOK JACKET.
Xing Lu examines language, art, persuasion, and argumentation in ancient China and offers a detailed and authentic account of ancient Chinese rhetorical theories and practices within the society's philosophical, political, cultural, and linguistic contexts. She focuses on the works of five schools of thought and ten well-known Chinese thinkers from Confucius to Han Feizi to the the Later Mohists. Lu identifies seven key Chinese terms pertaining to speech, language, persuasion, and argumentation as they appeared in these original texts, selecting ming bian as the linchpin for the Chinese conceptual term of rhetorical studies. Lu compares Chinese rhetorical perspectives with those of the ancient Greeks, illustrating that the Greeks and the Chinese shared a view of rhetoric as an ethical enterprise and of speech as a rational and psychological activity. The two traditions differed, however, in their rhetorical education, sense of rationality, perceptions of the role of language, approach to the treatment and study of rhetoric, and expression of emotions. Lu also links ancient Chinese rhetorical perspectives with contemporary Chinese interpersonal and political communication behavior and offers suggestions for a multicultural rhetoric that recognizes both culturally specific and transcultural elements of human communication.
Annotation Experts in the fields of Chinese art, religion, literature, and history introduce and illuminate many of the issues surrounding child imagery in China, including the frequent use of pictures of children to reinforce social values. Topics include a historical overview; images of children in song, painting, poetry, at play, as icons of good fortune, and in stories; the childhood of gods and sages; folk deities; and family pictures. The text is accompanied by 100-plus color and b&w illustrations. A glossary of Chinese characters is included. Edited by Wicks (art history, Miami U). Annotation c. Book News, Inc., Portland, OR (booknews.com).
An analysis of Chinese art attempts to explain why their artists wrote inscriptions and poems on their paintings and what the relationship was between the three arts.
In this pathbreaking study of three of the most familiar texts in the Chinese tradition--all concerning stones endowed with magical properties--Jing Wang develops a monumental reconstruction of ancient Chinese stone lore. Wang's thorough and systematic comparison of these classic works illuminates the various tellings of the stone story and provides new insight into major topics in traditional Chinese literature. Bringing together Chinese myth, religion, folklore, art, and literature, this book is the first in any language to amass the sources of stone myth and stone lore in Chinese culture. Uniting classical Chinese studies with contemporary Western theoretical concerns, Wang examines these stone narratives by analyzing intertextuality within Chinese traditions. She offers revelatory interpretations to long-standing critical issues, such as the paradoxical character of the monkey in The Journey to the West, the circularity of narrative logic in The Dream of the Red Chamber, and the structural necessity of the stone tablet in Water Margin. By both challenging and incorporating traditional sinological scholarship, Wang's The Story of Stone reveals the ideological ramifications of these three literary works on Chinese cultural history and makes the past relevant to contemporary intellectual discourse. Specialists in Chinese literature and culture, comparative literature, literary theory, and religious studies will find much of interest in this outstanding work, which is sure to become a standard reference on the subject.