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This collection in five volumes tries to realize the desideratum of a comprehensive interdisciplinary work on the manifold faces and images of Jesus in China, which unites the Sinological, mission-historical, theological, art-historical, and other aspects. The first three volumes (vols. L/1-3) contain articles and texts which discuss the faces and images of Jesus Christ from the Tang dynasty to the present time. In a separate volume (vol. L/4) follows an annotated bibliography of the Western and Chinese writings on Jesus Christ in China and a general index with glossary. The iconography, i.e., the attempts of the Western missionaries and the Chinese to portray Jesus in an artistic way, will be presented in the fifth volume of this collection (vol. L/5).
This volume provides an annotated bibliography of the Western and Chinese literature on Jesus Christ in China. It is a sequel to the interdisciplinary collection on the manifold faces and images of Jesus throughout Chinese history, from the Tang dynasty (618 907) to the present time.The present bibliography broadens and deepens the above-mentioned subject matter, and also points out aspects which have been addressed in the contributions and anthologies of the previous volumes of The Chinese Face of Jesus Christ, but which have not been treated thoroughly. Another aim of this bibliography is to initiate and enable further research, particularly in China. It includes bibliographical data from the beginning of the introduction of Christianity to China until the year 2013, occasionally also until 2014. A list ofKey References enables the reader to identify important works on main topics related to Jesus Christ in China. Some examples of book covers and title pages are included in the section ofIllustrations.Other volumes of the collection The Chinese Face of Jesus Christ are in preparation: Vol. 3c will present longer quotations from the sources listed in the present bibliography, Vol. 4b will contain a general index with glossary, and Vol. 5 will deal with the iconography of Jesus Christ in China.
The Chinese Catholic Church traces its living roots back to the late sixteenth century and its historical roots back even further, to the Yuan dynasty. This book explores paintings and sculptures of the Virgin Mary and the communities that produced them over several centuries. It argues for the emergence of distinctly Chinese Catholic identities as artistic representations of the Virgin Mary, at different times and in different places, absorbed and in turn influenced representations of Chinese figures from Guanyin to the Empress Dowager. At other times indigenous styles have been diluted by Western influences—following the influx of European missionaries in the nineteenth century, for example, or with globalization in recent years. The book engages with history, theology and art, and draws on imagery and archival photographs that have been largely neglected. As a study of the social and cultural histories of communities that have survived over many centuries, this book offers a new view of Catholicism in China—one that sees its history as more than simply a cycle of persecution and resistance. Fr. Jeremy Clarke, SJ, is an Australian Province Jesuit teaching as an assistant professor in the History Department of Boston College. He is also a school visitor in the Australian Center for China in the World at the Australian National University, Canberra.
With great sensitivity and originality, Olivia Khoo shows us how to read popular films, female movie stars, quotidian cultural artifacts, novels, and other 'Chinese exotic'phenomena in contemporary global circulation."--Rey Chow, Brown UniversityOlivia Khoo is a lecturer in film studies at the University of New South Wales, Australia.
How are Chinese Catholic identities expressed through images? In this cross-disciplinary study which engages with history, theology and art, Fr. Jeremy Clarke explores paintings and sculptures of the Virgin Mary and the communities that produced them over several centuries. He argues for the emergence of distinctly Chinese Catholic identities as artistic representations of the Virgin Mary sometime absorbed representations of such Chinese figures as Guanyin while at other times were diluted by Western influences following the influx of European missionaries. The book offers a new view of Cathol.
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A new voice and vision for art as comics and comics as art -- and poetry.