A groundbreaking look at art made in China during the Cultural Revolution Although numerous books on the Cultural Revolution have been published, they do not analyze the profound shift in aesthetic values that occurred in China after the Communists took power. This fascinating book is the first to focus on artwork produced from the 1950s to the 1970s, when Mao Zedong was in leadership, and argues that important contributions were made during this period that require fuller consideration in Chinese art history, especially with relevance to the contemporary world. Previously, historians have tended to dismiss the art of the Cultural Revolution as pure propaganda. The authors of this volume (historians, art historians, and artists) argue that while much art produced during this time was infused with politics, and individual creativity and displays of free thought were sometimes stifled and even punished, it is short sighted to overlook the aesthetic sophistication, diversity, and accessibility of much of the imagery. Bringing together more than 200 extraordinary artworks, including oil paintings, ink scroll paintings, artist sketchbooks, posters, and objects from daily life, as well as primary documentation that has not been published outside of China or seen since the mid-20th century, this invaluable volume sheds new light on one of the most controversial and critical periods in history. Published in association with the Asia Society Museum Exhibition Schedule: Asia Society Museum (September 5, 2008 - January 4, 2009)

Showcasing 45 artists, from top industry professionals to talented high school illustrators. "COMP x Artists Sponsorship" features the artwork of talented creators popular online from across Japan and beyond, each providing a stellar original illustration for the book alongside creator commentary. Featuring both Japanese and English text, and sold in a special protective vinyl slip bag.

In this publication the sinologist Rupprecht Mayer presents 143 Chinese reverse glass paintings from a private collection in southern Germany. Traditional motifs of happiness, scenes from plays and novels, landscapes, Chi na's entrance into modernity, and the changing image of the Chinese woman define the central motifs. Production of reverse glass paintings began in Canton in the 18th century, of which only those that found their way to the West are known today. After th e end of exports in the middle of the 19th century this decorative art continued to enjoy popularity in China, but only very few of the many fragile paintings in Chinese households have survived the turmoil of wars and disruptions of the 19th and 20th cent uries. Reverse glass painting fell into oblivion in China, with no collections in museums and very few private collectors. This first study in the West presents the beauty of this traditional art in all of its facets.

The volume presents for the first time four seventeenth-century paintings commissioned by the Habsburg Ambassador Hans-Ludwig von Kuefstein after his diplomatic mission to Istanbul, accompanied by twelve gouache works from a collection in Austria. In spite of its diplomatic and political success in the Ottoman-Habsburg relations, the Kuefste in's embassy is remembered first of all for its artistic legacy documented by the ambassador's diary, the draft of a final report to the Emperor, diplomatic correspondence, a list of gifts presented and received, and last but not least, a series of gouaches, executed in Istanbul, and a series of oil paintings - which serve to illustrate various aspects of seventeenth-century Ottoman life, and provide a detailed account of the ambassador's mission. The Orientalist Museum of Qatar curatorial and conservation departments, with the assistance of external scientific experts, have embarked upon a collaborative project to provide new insights in to the history of the Ottoman-Habsburg relations. The result is the exhibition and the volume Heritage of Art Diplomacy: Memoirs of an Ambassador- the culmination of two years' restoration and research work aimed to provide a better understanding of the cultural heritage in respect to its aesthetic and historic significance and its physical integrity .

One of the last great names in the Japanese "ukiyo-e" style, Utagawa Kuniyoshi was an undisputed master of the warrior woodblock print. Born in Tokyo in 1797, his talent became evident by the tender age of 12, when he became an apprentice to a famous print master. Starting out with vivid illustrations of cultural icons -- including Kabuki actors and Japanese heroes -- he moved on to a unique treatment of warrior prints, incorporating elements of dreams, omens, and daring feats that characterized his distinctive style. These dramatic eighteenth-century illustrations represent the pinnacle of his craft. One hundred and one full-color portraits of legendary samurai pulse with movement, passion, and remarkably fine detail. A must for collectors of Japanese art and a perfect first work for those who want to start their own collection, it includes brief captions and a new introduction.

Ink arts have flourished in China for more than two millennia. Once primarily associated with elite culture, ink painting is now undergoing a popular resurgence. Ink Worlds explores the modern evolution of this art form, from scrolls and panel paintings to photographic and video forms, and documents how Chinese ink arts speak to present-day concerns while simultaneously referencing deeply historical materials, themes, and techniques. Presenting the work of some two dozen artists from China, Taiwan, Hong Kong, and the United States in more than 100 full-color reproductions, the book spans pioneering abstract work from the late 1960s through twenty-first century technological innovations. Nine illustrated essays build a compelling case for understanding the modern form as a distinct genre, fusing art and science, history and technology, painting and film into an accessible theory of contemporary ink painting. The Yamazaki/Yang collection is widely recognized as one of the most important private collections of contemporary Chinese ink art. Ink Worlds is the first book to represent the collection from the perspective of contemporary art history. From its atmospheric mountainscapes to precise calligraphy, this book is a revelation, bringing together the past, present, and future of an enduring and adaptable art form.