The Cambridge Illustrated History of China is an illuminating account of the full sweep of Chinese civilisation - from prehistoric times to the intellectual ferment of the Warring States Period, through the rise and fall of the imperial dynasties, to the modern communist state. Written by a leading scholar and lavishly illustrated, its narrative draws together everything from the influence of key intellectual figures, to political innovations, art and material culture, family and religious life, not to mention wars and modern conflicts. This third revised edition includes new archaeological discoveries and gives fuller treatment of environmental history and Chinese interaction with the wider world, placing China in global context. The Qing dynasty is now covered in two chapters, while the final chapter brings the story into the twenty-first century, covering the transformation of China into one of the world's leading economies and the challenges it faces. Lively and highly visual, this book will be appreciated by anyone interested in Chinese history.

The Thiri Rama - or the Great Rama - was written for court performance and is the only known illustrated version of the Ramayana story in Myanmar. Based on palm-leaf manuscripts and scenes carved on over 300 sandstone plaques at a mid-nineteenth-century Buddhist pagoda west of Mandalay in Myanmar, this book presents an original translation of the Thiri Rama rendered in prose. The volume also includes essays on the history and tradition of the Ramayana in Myanmar as well as the cultural context in which the play was performed. It contains many helpful resources, incorporating a glossary and a list of characters and their corresponding personae in Valmiki's Ramayana. With over 250 fascinating visuals and core text contributions by distinguished Burmese scholars, U Thaw Kaung, Tin Maung Kyi, and U Aung Thwin, this book will greatly interest scholars and researchers of South and Southeast Asian culture, literary forms, epics, art and art history, theatre and performance studies, religion, especially those concerned with Hinduism, as well as folklorists.

This book traces the intimate connections between Britain and China throughout the nineteenth century and argues for China's central impact on the British visual imagination. Chang brings together an unusual group of primary sources to investigate how nineteenth-century Britons looked at and represented Chinese people, places, and things, and how, in the process, ethnographic, geographic, and aesthetic representations of China shaped British writers' and artists' vision of their own lives and experiences. For many Britons, China was much more than a geographical location; it was also a way of seeing and being seen that could be either embraced as creative inspiration or rejected as contagious influence. In both cases, the idea of China's visual difference stood in negative contrast to Britain's evolving sense of the visual and literary real. To better grasp what Romantic and Victorian writers, artists, and architects were doing at home, we must also understand the foreign "objects" found in their midst and what they were looking at abroad.

The production of bronze vessels in ancient China spans a period of eighteen centuries - from the Shang dynasty, c.17th century BC, to the Han dynasty, 3rd century AD. Cast in large numbers, they were used for ritual ceremonies and in burial. Illustrated throughout from bronzes in the Ashmolean's collection, this book does not attempt a comprehensive history of bronze casting in China, but is intended to serve as an introduction to what is a complex but fascinating subject.

This book traces the emergence of modernism in art in South Asia by exploring the work of the iconic artist George Keyt. Closely interwoven with his life, Keyt's art reflects the struggle and triumph of an artist with very little support or infrastructure. He painted as he lived: full of colour, turmoil and intensity. In this compelling account, the author examines the eventful course of Keyt's journey, bringing to light unknown and startling facts: the personal ferment that Keyt went through because of his tumultuous relationships with women; his close involvement with social events in India and Sri Lanka on the threshold of Independence; and his somewhat angular engagement with artists of the '43 Group. A collector's delight, including colour plates and black and white photographs, reminiscences and intimate correspondences, this book reveals the portrait of an artist among the most charismatic figures of our time. This book will be of interest to scholars and researchers of art and art history, modern South Asian studies, sociology, cultural studies as well as art aficionados.

The World Created in the Image of Man investigates the development of the third dimension in painting from the dramatic moment when spatial construction becomes charged with an external force antagonistic to the effort of forms, or human figures, to preserve their permanence. The competitive contact between the external and internal worlds represented in the picture brings a vital element to the unfolding of art as it occurs in both the West and the East. As the analysis of masterpieces from different historical periods and cultures demonstrates here, this vital impulse becomes a necessary part of pictorial composition and the measure of the quality of the work of art. It can reveal itself in a limitless and disparate variety of subject matter: a scene from Japanese court life, as depicted in the illustrations of the early twelfth century to the novel The Tale of Genji; a representation of the maternal feeling of the Virgin anticipating the fate of her child in Byzantine icon painting; Raphael's "universal interior" in The School of Athens; Rembrandt's allegory of historic continuity in Aristotle with the Bust of Homer. The progression of this dynamic eventually leads to the surrender of form to space with the Impressionists; and to the conclusion of the book, which considers Postmodern art in the form of the installation, where the emphasis is put on the unprecedented role of the viewer as a component of the work, and which suggests an environment that is totally alien, or even hostile to him. Art historians, students of art history and the educated general reader with an interest in painting will find this book a rewarding and stimulating read.

The city of Kyoto has undergone radical shifts in its significance as a political and cultural center, as a hub of the national bureaucracy, as a symbolic and religious center, and as a site for the production and display of art. However, the field of Japanese history and culture lacks a book that considers Kyoto on its own terms as a historic city with a changing identity. Examining cultural production in the city of Kyoto in two periods of political transition, this book promises to be a major step forward in advancing our knowledge of Kyoto's history and culture. Its chapters focus on two periods in Kyoto's history in which the old capital was politically marginalized: the early Edo period, when the center of power shifted from the old imperial capital to the new warriors' capital of Edo; and the Meiji period, when the imperial court itself was moved to the new modern center of Tokyo. The contributors argue that in both periods the response of Kyoto elites-emperors, courtiers, tea masters, municipal leaders, monks, and merchants-was artistic production and cultural revival. As an artistic, cultural and historical study of Japan's most important historic city, this book will be invaluable to students and scholars of Japanese history, Asian history, the Edo and Meiji periods, art history, visual culture and cultural history.

These fine-quality tear-out wrapping sheets feature six whimsical watercolor patterns, suitable for craft projects as well as for gift wrapping. An introduction details the history and meaning behind the designs and provides some wrapping inspiration Tuttle Gift Wrapping Papers are an excellent value--a fraction of the price of a single sheet of gift wrap paper from stationery shops Each sheet is removable by tearing along a perforated line There are six sheets with six different patterns in each book

Chinese Religious Art is a broad survey of the origins and development of the various forms of artistic expression of Chinese religions. The study begins with an overview of ancient archaeology in order to identify nascent religious ideologies in various Neolithic Cultures and early Chinese historical eras including the Shang dynasty (1300-1050 BCE) and Zhou Dynasty(1000-221 BCE) up until the era of the First Emperor (221-210 BCE) Part Two treats Confucianism as a religious tradition examining its scriptures, images, temples and rituals. Adopted as the state ideology in the Han dynasty, Confucian ideas permeated society for over two thousand years. Filial piety, ethical behavior and other principles shaped the pictorial arts. Part Three considers the various schools of Daoist belief and their expression in art. The ideas of a utopian society and the pursuit of immortality characterize this religion from its earliest phase. Daoism has an elaborate pantheon and ritualistic art, as well as a secular tradition best expressed in monochrome ink painting. Part Four covers the development of Buddhist art beginning with its entry into China in the second century. Its monuments comprised largely of cave temples carved high in the mountains along the frontiers of China and large metropolitan temples provide evidence of its evolution including the adoption of savior cults of the Buddha of the Western Paradise, the Buddha of the Future, the rise of Ch an (Zen) and esoteric Buddhism. In their development, these various religious traditions interacted, sharing art, architecture, iconography and rituals. By the twelfth century a stage of syncretism merged all three traditions into a popular religion. All the religions are reviving after their extirpation during the Cultural Revolution. Using historical records and artistic evidence, much of which has not been published, this study examines their individual and shared manner of worshipping the divine forces."

This book introduces readers to the history of design thinking in pre-modern China. The content is structured according to successive dynasties, covering the seven major periods of the pre-Qin, Qin and Han, Wei and Jin, Sui and Tang, Song and Yuan, Ming, and Qing dynasties. Each chapter introduces the most representative individuals of the period and discusses their work and ideas in order to reveal the national and cultural features of the respective periods. A distinctive feature of cultural identity running through the long course of China's historical development is the argument that actions are determined by ideas: Such a view can be found in long-standing thinking on art, design, and creativity. The book demonstrates that conscious design is the vital link between the ideas that constitute human cultures and the physical objects that make up their resulting material cultures. It is the attribute of design that defines what it is to be human and also produces the physical evidence of the evolution of Chinese civilization. The book reveals the integrated characteristics of Chinese culture and art and shows how both changing and recurring ideologies have influenced Chinese design practice since the ancient Shang and Zhou dynasties and how these forces have shaped the spirit and materiality of Chinese civilization. Design is the cornerstone that has made China one of the major contributors to human civilization throughout the thousands of years of its history. Given its focus, the book largely appeals to two main audiences: an academic readership of students and researchers interested in cultural studies and, a more general one, consisting of those interested in international comparisons and wishing to learn more about Chinese history, society, and culture. In order to appeal to both, the book is written in a clear and accessible language.

The Religious Art of China is a broad survey of the origins and development of the various forms of artistic expression of Chinese religions. The study begins with an overview of ancient archaeology in order to identify nascent religious ideologies in various Neolithic Cultures and early Chinese historical eras including the Shang dynasty (1300-1050 BCE) and Zhou Dynasty(1000-221 BCE) up until the era of the First Emperor (221-210 BCE) Part Two treats Confucianism as a religious tradition examining its scriptures, images, temples and rituals. Adopted as the state ideology in the Han dynasty, Confucian ideas permeated society for over two thousand years. Filial piety, ethical behavior and other principles shaped the pictorial arts. Part Three considers the various schools of Daoist belief and their expression in art. The ideas of a utopian society and the pursuit of immortality characterize this religion from its earliest phase. Daoism has an elaborate pantheon and ritualistic art, as well as a secular tradition best expressed in monochrome ink painting. Part Four covers the development of Buddhist art beginning with its entry into China in the second century. Its monuments comprised largely of cave temples carved high in the mountains along the frontiers of China and large metropolitan temples provide evidence of its evolution including the adoption of savior cults of the Buddha of the Western Paradise, the Buddha of the Future, the rise of Ch an (Zen) and esoteric Buddhism. In their development, these various religious traditions interacted, sharing art, architecture, iconography and rituals. By the twelfth century a stage of syncretism merged all three traditions into a popular religion. All the religions are reviving after their extirpation during the Cultural Revolution. Using historical records and artistic evidence, much of which has not been published, this study examines their individual and shared manner of worshipping the divine forces.

This miniature notebook is a portable, hardcover little journal with the classic art of Hiroshige. We've added a touch of gold foil to the beautiful illustration, highlighting the rich art from this world renowned Japanese block-print artist. Our Mini Notebooks have 120 dot-grid pages with cover illustrations by highly collectable artists. Easy to give as gifts and easy to keep - collect them all! 120 pages dot-grid interior pages portable mini size, 127 x 89mm. hardcover with gold foil accents

A History of Chinese Art is a lavishly illustrated work covering the history of Chinese art from the Pre-Qin period (pre-221 BCE) to the early twentieth century in two volumes. Compiled by leading art historians at the Central Academy of Fine Arts in Beijing, the volumes offer a Chinese perspective on the rich artistic tradition that has flourished throughout China's long history, from ancient pottery and tomb painting to furniture, sculpture, ceramics, calligraphy and fine art. Discussion is supported by full-colour illustrations throughout, sourced from collections in China and around the world, including recent archaeological discoveries. A History of Chinese Art provides an introductory point of reference for those with an interest in Chinese history, culture and art.

The city of Kyoto has undergone radical shifts in its significance as a political and cultural center, as a hub of the national bureaucracy, as a symbolic and religious center, and as a site for the production and display of art. However, the field of Japanese history and culture lacks a book that considers Kyoto on its own terms as a historic city with a changing identity. Examining cultural production in the city of Kyoto in two periods of political transition, this book promises to be a major step forward in advancing our knowledge of Kyoto's history and culture. Its chapters focus on two periods in Kyoto's history in which the old capital was politically marginalized: the early Edo period, when the center of power shifted from the old imperial capital to the new warriors' capital of Edo; and the Meiji period, when the imperial court itself was moved to the new modern center of Tokyo. The contributors argue that in both periods the response of Kyoto elites-emperors, courtiers, tea masters, municipal leaders, monks, and merchants-was artistic production and cultural revival. As an artistic, cultural and historical study of Japan's most important historic city, this book will be invaluable to students and scholars of Japanese history, Asian history, the Edo and Meiji periods, art history, visual culture and cultural history.

An extensive study of self-sacrificial images in Indian art, this book examines concepts such as head-offering, human sacrifice, blood, suicide, valour, self-immolation, and self-giving in the context of religion and politics to explore why these images were produced and how they became paradigms of heroism.

Kanadehon Chushingura has been one of the most popular bunraku and kabuki plays. This fascinating study explores the full spectrum of ukiyo-e (floating world) representations of the Chushingura story. Essential reading for all students of Japanese theatre, the history of Japanese art and the social history of Japan.

This book attempts to expand the grounds and methodology of studying Japanese art history by focusing on the conditions, procedures, events, and social interplay that characterized the production of paintings in late-fifteenth-century Japan.
Though the book's ultimate concerns are art historical, its analysis also draws heavily from the insights of sociology and social history. At its core is a fresh examination of the major primary documents of the period in an attempt to liberate the study from assumptions long embedded in the historiography of late medieval Japanese painting history. Early chapters describe documents, methods, basic sites, and conditions of painting before turning to the main contribution of the book, painting considered as a body of social practices. The production of painting in the late fifteenth century was profoundly social, dynamically related to the circumstances of its agents. Painters, advisors, assistants, clients, and others did not exert themselves simply to bring paintings into existence. They sought advantages (such as wealth and prestige), met obligations, and satisfied the demands of custom.
Surviving documents from the period present rich evidence of the involvement of such persons in the imperial court, the Ashikaya-Gozan community, the great temples of Nara, and the halls of local lords. The author takes into account the patterns of expectation that existed at the various sites but does not construe them as static and mechanically determined. Rather, he shows that expectations evolved in response to changed conditions. Although this study specifically addresses the last quarter of the fifteenth century, it can aid future research in Japanese painting practice in other eras by serving as a model of how new interpretations can emerge from close documentary investigation.

The first specialized critical-aesthetic study to be published on the concept of hybridity in early Mughal painting, this book investigates the workings of the diverse creative forces that led to the formation of a unique Mughal pictorial language. Mughal pictoriality distinguishes itself from the Persianate models through the rationalization of the picture's conceptual structure and other visual modes of expression involving the aesthetic concept of mimesis. If the stylistic and iconographic results of this transformational process have been well identified and evidenced, their hermeneutic interpretation greatly suffers from the neglect of a methodologically updated investigation of the images' conceptual underpinning. Valerie Gonzalez addresses this lacuna by exploring the operations of cross-fertilization at the level of imagistic conceptualization resulting from the multifaceted encounter between the local legacy of Indo-Persianate book art, the freshly imported Persian models to Mughal India after 1555 and the influx of European art at the Mughal court in the sixteenth and seventeenth centuries. The author's close examination of the visuality, metaphysical order and aesthetic language of Mughal imagery and portraiture sheds new light on this particular aspect of its aesthetic hybridity, which is usually approached monolithically as a historical phenomenon of cross-cultural interaction. That approach fails to consider specific parameters and features inherent to the artistic practice, such as the differences between doxis and praxis, conceptualization and realization, intentionality and what lies beyond it. By studying the distinct phases and principles of hybridization between the variegated pictorial sources at work in the Mughal creative process at the successive levels of the project/intention, the practice/realization and the result/product, the author deciphers the modalities of appropriation and manipulation of the heterogeneous elements. Her unique

Featuring striking full-colour images and new research, this publication from the Hong Kong Palace Museum celebrates some of the most important works of horse art from the Palace Museum and the Louvre Museum. Five essays and forty-five entries highlight objects dating from the Han (206 BCE-220 CE) to Qing (1644-1911) dynasties, and explore the horse in art in a way that is accessible to general readers, encouraging them to think through comparisons with objects from both institutions. Centred on the question of human connection to the horse across time in China and beyond, the catalogue entries are divided into sections that examine the horse in mythology and religion, military culture, and transnational traversals, providing a means for reflecting on fundamental issues of human creativity, ambition, and tradition. This is a beautifully designed and thought-provoking volume that will find a ready market among those with an interest in Chinese art and culture. Published to celebrate the opening of the new Hong Kong Palace Museum in July 2022, Grand Gallop accompanies a major exhibition of the same name that is expected to generate significant media attention.

This is a richly-illustrated study of 'The Oracles of the Three Shrines', the name given to a hanging scroll depicting three important Japanese shrine-deities and their respective oracle texts. The scroll has evolved continuously in Japan for 600 years, so different examples of it offer a series of 'windows' on developments in Japanese religious belief and practice.

The Mongol period (1206-1368) marked a major turning point of exchange - culturally, politically, and artistically - across Eurasia. The wide-ranging international exchange that occurred during the Mongol period is most apparent visually through the inclusion of Mongol motifs in textile, paintings, ceramics, and metalwork, among other media. Eiren Shea investigates how a group of newly-confederated tribes from the steppe conquered the most sophisticated societies in existence in less than a century, creating a courtly idiom that permanently changed the aesthetics of China and whose echoes were felt across Central Asia, the Middle East, and even Europe. This book will be of interest to scholars in art history, fashion design, and Asian studies.

This title presents an annotated index and general orientation of Islamic art collections in museums, libraries, other institutions and on private hands. It includes a short description of each collection, its main characteristics, documentation, publications and exhibitions.

Mary Storm has a Ph.D. in Indian Art History from the University of California, Los Angeles, and an M.A. in East Asian Studies, Japanese Buddhist Art, from Stanford University. She currently teaches at Jawaharlal Nehru University in New Delhi in the School of Arts and Aesthetics. She was previously a Ford Foundation Visiting Fellow and Associate Professor of Art History at that university.