The present volume focuses on the uses of theory originating in non-Chinese places in the creation, curating, and criticism of contemporary Chinese visual culture. In the past two decades, contemporary Chinese art and film have attracted a great deal of media and academic attention in the West, and scholars have adopted a variety of approaches in Chinese film and visual studies. The present volume focuses on the uses and status of theory originating in non-Chinese places in the creation, curating, narration, and criticism of contemporary Chinese visual culture (broadly defined to include traditional media in the visual arts as well as cinema, installation, video, etc.). Contributors reflect on the written and, even more interestingly, the unwritten assumptions on the part of artists, critics, historians, and curators in applying or resisting Western theories. The essays in the present volume demonstrate clearly that Western theory can be useful in explicating Chinese text, as long as it is applied judiciously; the essays, taken as a whole, also suggest that cultural exchange is never a matter of one-way street. Historically, ideas from traditional Chinese aesthetics have also traveled to the West, and it is a challenge to examine what travels and what does not, as well as what makes such travel possible or impossible. The present volume thus provides us an opportunity to rethink travels of theories and texts across cultures, languages, disciplines, and media. "The authors in this volume demonstrate how theory can be deployed judiciously, and so illuminate the methodological challenges faced by scholars in a rapidly evolving field. Intellectually rigorous and yet accessible, the book is a much-needed and valuable contribution to art historical scholarship." Dr. Wenny Teo, Manuela and Iwan Wirth Lecturer in Modern and Contemporary Asian Art, The Courtauld Institute of Art, London. "This collection of essays offers multifaceted approaches and perspectives that demonstrate forcefully how Western theories have appropriated Chinese visual texts into the discourse of English scholarship. This is a must-read book for anyone intending to read or write about contemporary Chinese art and cinema. Shu-chin Tsui, Bowdoin College, author of Women Through the Lens: Gender and Nation in a Century of Chinese Cinema . "The theories, ranging from Bakhtin's reading to Chinese Daoist/Chan Buddhist notions, and engaging with postmodern perspectives and globalization, are boldly used to prompt readers to reinterpret contemporary Chinese art and film." Haili Kong, Swarthmore College, coeditor of One Hundred Years of Chinese Cinema.

The 100 paintings in this book are based on haiku poems by Kobayashi Issa (1763-1828), who is considered to be one of the four greatest masters of the Japanese haiku tradition. Issa's short poems explore nearly all aspects of human experience with delightful brevity. The poems were translated from Japanese by David G. Lanoue.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

In recent years, the Dallas Museum of Art has expanded its collection of South Asian art from a small number of Indian temple sculptures to nearly 500 works, including Indian Hindu and Buddhist sculptures, Himalayan Buddhist bronze sculptures and ritual objects, artwork from Southeast Asia, and decorative arts from India's Mughal period. Artworks in the collection have origins from the former Ottoman empire to Java, and architectural pieces suggest the grandeur of buildings in the Indian tradition. This volume details the cultural and artistic significance of more than 140 featured works, which range from Tibetan thangkas and Indian miniature paintings to stone sculptures and bronzes. Relating these works to one another through interconnecting narratives and cross-references, scholars and curators provide a broad cultural history of the region. Distributed for the Dallas Museum of Art

Shodo Brush Calligraphy presents the ancient "art of writing beautifully" as a fun activity, an important tool for self-discovery, and a method for augmenting and testing progress on your personal journey to self-mastery.

This book, from the series Primary Sources: Historical Books of the World (Asia and Far East Collection), represents an important historical artifact on Asian history and culture. Its contents come from the legions of academic literature and research on the subject produced over the last several hundred years. Covered within is a discussion drawn from many areas of study and research on the subject. From analyses of the varied geography that encompasses the Asian continent to significant time periods spanning centuries, the book was made in an effort to preserve the work of previous generations.

The lute, ch'in or guqin is one of China's oldest and most revered musical instruments. Records indicate that it has been a favourite of the literary classes for more than 2,500 years; Confucius himself was a great lover of the instrument. Over the centuries, it became representative of the life, taste and pastimes of the Chinese literati. In addition to its contributions to solo and orchestral musical arrangements, a wealth of symbolic meaning accrued to the lute over time. Not only was knowledge of the instrument reserved for the literati; its study was believed to be conducive to meditation and to facilitate intellectual enlightenment. While a significant body of literature has been written on the lute in Chinese, the present monograph is the first to assemble a broad picture of the instrument and its cultural significance in English. The author, a renowned Sinologue and linguist, studied the playing of the instrument under one of the most famous lute masters of his age.

Kitagawa Utamaro was the leading light of the popular Ukiyo-e school of woodblock print designers during its golden age, famous throughout Japan within his own lifetime, an immeasurable influence upon nineteenth century French artists, such as Vincent Van Gogh, douard Manet and Claude Monet, and is a continuing source of inspiration and admiration throughout the world today for his portraits of sumptuously garbed courtesans and sensitively drawn depictions of everyday life in eighteenth century Edo. This volume, the first catalogue to document all of Utamaro's known print designs in the broadsheet format, provides a comprehensive descriptive listing of the artist's works, along with more than a hundred and thirty reproductions of his prints, with accompanying indices to aid in the location of specific works by publisher's mark, subject, or title. This groundbreaking publication, the product of more than two decades of exhaustive research, forms a record of the artist's works that will serve as a lasting reference source for connoisseurs, curators, and dealers alike. Gina Collia-Suzuki is an artist and writer who lives and works on the southwest coast of England. She has been an avid collector of Japanese woodblock prints, in particular those designed by Kitagawa Utamaro, for more than two decades. Initially a student of Western art, she encountered Japanese woodblock prints for the first time in 1985 and was immediately taken by their striking and bold designs, the compositional skills of their designers and the abilities of the craftsmen responsible for carving the blocks. In 1986 she met Jack Hillier, the world-renowned Ukiyo-e scholar, who became her mentor, and their friendship lasted until Hillier's passing in 1995. For more than twenty years she has devoted herself to the study of the woodblock prints of Kitagawa Utamaro, and is the author of 'Utamaro Revealed: A Guide to Subjects, Themes and Motifs'.

This richly illustrated book is for artists and people with no prior painting experience who want to learn the art classical Chinese brush painting using traditional materials. It follows the free form or "boneless" painting style of brush painting rather than the meticulous style. Each chapter begins with clear, step-by-step instructions to master the elements. Special sections--Practice Tips, Artistic Touch, Setup Guides, and Color Guides--provide essential information at a glance. Over 250 color illustrations show closeup details, errors to avoid, and full paintings. Photographs show brush handling techniques and examples of each flower subject as it grows in nature. Chinese symbolism and philosophy are integrated into the text. The Troubleshooting Guide at the end addresses problems encountered by painters new to this medium.

Forbes Symposium proceedings, this volume focuses on Asian ceramics in their many forms and functions-utilitarian, aesthetic, and religious.

ON THE LAWS OF JAPANESE PAINTING AN INTRODUCTION TO THE STUDY OF THE ART OF JAPAN BY HENRY P. JBOWIE WITH PREFATORY REMARKS BY IWAYA SAZANAMI AND HIRAI KINZA ILLUSTRATED PAUL ELDER AND COMPANY PUBLISHERS SAN FRANCISCO COPYRIGHT, 1911 By HENRY P. BOWIE ENTERED AT STATIONERS HALL, LONDON DEDICATED TO THE MEMORY OF KUBOTA BEISEN A GREAT ARTIST AND A KINDLY MAN, WHOSE HAPPINESS WAS IN HELPING OTHERS AND WHOSE TRIUMPHANT CAREER HAS SHED ENDURING LUSTRE UPON THE ART OF JAPANESE PAINTING Introduction THIRST of all, I should state that in the year 1909 I accompanied the Honorable Japanese Commercial Commissioners in their visit to the various American capitals and other cities of the United States where we were met with the heartiest welcome, and for which we all felt the most profound gratitude. We were all so happy, but I was especially so indeed, it would be impossible to be more happy than I felt, and particularly was this true of one day, namely y the twenty-seventh of November of the year named, when Henry jP. Bowie, Esq., invited us to his residence in San Mateo, where we found erected by him, a Memorial Gate to commemorate our victories in the Japanese - Russian War and its dedication had been reserved for this day of our visit Suspended above the portals was a bronze tablet inscribed with letters written by my late father, Ichi Roku. The evening of that same day we were invited by our host to a reception extended to us in San Francisco by the Japan Society of America, where I had the honor of delivering a short address on Japanese folk-lore. In adjoining halls was exhibited a large collection of Japanese writings and paintings, the latter chiefly the work of the artist, KitbotaIBeisen, while the writings were from the brush of my deceased father, between whom and Mr. Bowie there existed the relations of the warmest friendship and mutual esteem. Two years or more have passed and I am now in receipt of information from Mr. Shimada Sekko that Mr. Bowie is about to publish a work upon the laws of Japanese painting and I am requested to write a preface to the same. I am well aware how unfitted I am for such an undertaking f but in view of all I have here related I feel I am not permitted to refuse. Indeed, it seems to me that the art of our country has for many years past been introduced to the public of Europe and America in all sorts of ways f and hundreds of books about Japanese art have appeared in several foreign languages but I have been privately alarmed for the reason that a great many such books contain either superficial observations made during sightseeing sojourns of six months or a year in our country or are but hasty commentaries 9 compilations f extracts or references f chosen here and therefrom other Introduction volumes. A II work of this kind must be considered extremely super jlcial. But Mr. Bowie has resided many years in Japan. He thoroughly understands our institutions and national life he is accustomed to our ways, and is Jully conversant with our language and literature, and he understands both our arts of ivriting and painting. Indeed I feel he knows about such matters more than many of my own countrymen added to this, his taste is instinctively well adapted to the Oriental atmosphere of thought and is in har mony with Japanese ideals. And it is he who is the author of the present volume. To others a labor of the kind would be very greatto Mr. Bowie it is a work of no such difficulty, and it must surely prove a source of priceless instruction not only to Europeans and Americans, but to my own countrymen, who will learn not a little from it. Ah, how fortunate do we feel it to be that such a book will appear in lands so far removed from our native shores. Nozv that I learn that Mr. Bowie has written this book the happiness of two years ago is again renewed, and from this far-off country I offer him. my warmest congratulations, with the confident hope that his work will prove fruitfully effective...

100 woodblock prints of Edo culture: from the Ukiyo-e collection of the Tobacco & Salt Museum

A collection of patterns that can be used for drawing Rangoli

ON THE LAWS OF JAPANESE PAINTING AN INTRODUCTION TO THE STUDY OF THE ART OF JAPAN BY HENRY P. JBOWIE WITH PREFATORY REMARKS BY IWAYA SAZANAMI AND HIRAI KINZA ILLUSTRATED PAUL ELDER AND COMPANY PUBLISHERS SAN FRANCISCO COPYRIGHT, 1911 By HENRY P. BOWIE ENTERED AT STATIONERS HALL, LONDON DEDICATED TO THE MEMORY OF KUBOTA BEISEN A GREAT ARTIST AND A KINDLY MAN, WHOSE HAPPINESS WAS IN HELPING OTHERS AND WHOSE TRIUMPHANT CAREER HAS SHED ENDURING LUSTRE UPON THE ART OF JAPANESE PAINTING Introduction THIRST of all, I should state that in the year 1909 I accompanied the Honorable Japanese Commercial Commissioners in their visit to the various American capitals and other cities of the United States where we were met with the heartiest welcome, and for which we all felt the most profound gratitude. We were all so happy, but I was especially so indeed, it would be impossible to be more happy than I felt, and particularly was this true of one day, namely y the twenty-seventh of November of the year named, when Henry jP. Bowie, Esq., invited us to his residence in San Mateo, where we found erected by him, a Memorial Gate to commemorate our victories in the Japanese - Russian War and its dedication had been reserved for this day of our visit Suspended above the portals was a bronze tablet inscribed with letters written by my late father, Ichi Roku. The evening of that same day we were invited by our host to a reception extended to us in San Francisco by the Japan Society of America, where I had the honor of delivering a short address on Japanese folk-lore. In adjoining halls was exhibited a large collection of Japanese writings and paintings, the latter chiefly the work of the artist, KitbotaIBeisen, while the writings were from the brush of my deceased father, between whom and Mr. Bowie there existed the relations of the warmest friendship and mutual esteem. Two years or more have passed and I am now in receipt of information from Mr. Shimada Sekko that Mr. Bowie is about to publish a work upon the laws of Japanese painting and I am requested to write a preface to the same. I am well aware how unfitted I am for such an undertaking f but in view of all I have here related I feel I am not permitted to refuse. Indeed, it seems to me that the art of our country has for many years past been introduced to the public of Europe and America in all sorts of ways f and hundreds of books about Japanese art have appeared in several foreign languages but I have been privately alarmed for the reason that a great many such books contain either superficial observations made during sightseeing sojourns of six months or a year in our country or are but hasty commentaries 9 compilations f extracts or references f chosen here and therefrom other Introduction volumes. A II work of this kind must be considered extremely super jlcial. But Mr. Bowie has resided many years in Japan. He thoroughly understands our institutions and national life he is accustomed to our ways, and is Jully conversant with our language and literature, and he understands both our arts of ivriting and painting. Indeed I feel he knows about such matters more than many of my own countrymen added to this, his taste is instinctively well adapted to the Oriental atmosphere of thought and is in har mony with Japanese ideals. And it is he who is the author of the present volume. To others a labor of the kind would be very greatto Mr. Bowie it is a work of no such difficulty, and it must surely prove a source of priceless instruction not only to Europeans and Americans, but to my own countrymen, who will learn not a little from it. Ah, how fortunate do we feel it to be that such a book will appear in lands so far removed from our native shores. Nozv that I learn that Mr. Bowie has written this book the happiness of two years ago is again renewed, and from this far-off country I offer him. my warmest congratulations, with the confident hope that his work will prove fruitfully effective...

This scarce antiquarian book is a selection from Kessinger Publishings Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the worlds literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Visual Culture in Shanghai, 1850s-1930s is a study of formal and informal meanings of Haipai ("Shanghai School" or "Shanghai Style"), as seen through the paintings of the Shanghai school as well as other media of visual representation. The book provides us a point of entry into the nexus of relationships that structured the encounter between China and the West as experienced by the treaty-port Chinese in their everyday life. Exploring such relationships gives us a better sense of the ultimate significance of Shanghai's rise as China's dominant metropolitan center. This book will appeal not only to art historians, but also to students of history, gender studies, women's studies, and culture studies who are interested in modern China as well as questions of art patronage, nationalism, colonialism, visual culture, and representation of women. "This book constitutes a significant contribution to the literature about a period and a city that were pivotal to the emergence of modern China." -Richard K. Kent, Franklin & Marshall College. "This book navigates the complexity of Chinese modernity.. It bridges, conceptually and visually, the China of the past to present-day Shanghai, the symbol of the urban economy of 21st-century China." -Chao-Hui Jenny Liu, New York University. "Shanghai was the rising and dynamic metropolis, where many aspects of modernity were embraced with enthusiasm. Pictorial art was no longer the domain of the elite, but professionalization, commercialization, popularization, and Westernization contributed to the dissemination of images to a larger and diverse audience." -Minna Torma, University of Helsinki.

Haku Maki (1924-2000) was a highly innovative Japanese printmaker of the second half of the 20th century. His prints often had a three-dimensional quality, derived from the embossing which Maki used in much of his work. His best printsand his core theme from 1965 to 1979were kanji (Chinese characters that were adopted many centuries ago by the Japanese), They were often enhanced by Maki to make them look better. After kanji, he concentrated for a decade creating prints with ceramics used in drinking tea and wine. Like kanji, these objects, deeply rooted in centuries of Japanese culture, were rendered in a clear, crisp manner. To obtain the embossed effect, Maki used wet cement into which he carved the basic design for a print. After the design settled and was carved, Maki used double-layered paper, raising the subject from the surface of the paper. Maki's oeuvre is characterized by clean, sharp images, whether done in black kanji on a white background or in a bright color against a dark background. His prints usually contain one outstanding object, whether kanji or a ceramic vessel or a persimmon. The viewers gaze is directed strictly to the subjectthe background is not allowed to distract. Maki's prints invariably have a modern look and feel to themthey fit in the early 21st century just as well as they did when they were first produced 20-30 years ago. Yet Maki's primary subjects are very traditional. His achievement was to rework and update the traditional, producing an image that delights and sometimes surprises the viewer as the old emerges, recognizable but new. With little fuss and few frills, Maki allows the viewer to concentrate on the core subject and nothingelse. Very Zen.

This classic primer on Japanese art and esthetics-written by a cofounder of the Tokyo Fine Art School and one of the great 19th-century experts on Asian art and archaeology-approaches the subject from a philosphical perspective, exploring the spirit and the spirituality behind the notable eras of Asian music, painting, architecture, textiles, and other realms of artistic expression. Why did the Japanese character refuse to embrace abstract art? How did religious frenzy in the Middle Ages influence live entertainment? How does Zen impact the soul of an artist? Beautifully written and highly informative, this 1883 volume will enchant and enlighten lovers of Japanese art. Japanese scholar and writer KAKUZO OKAKURA (1863-1913) helped spread interest in Asian art and culture to the Western world. He is also the author of The Book of Tea (1906).

The Odyssey of China's Imperial Art Treasures traces the three-thousand-year history of the emperor's imperial collection, from the Bronze Age to the present. The tortuous story of these treasures involves a succession of dynasties, invasion and conquest, and civil war, resulting in valiant attempts to rescue and preserve the collection. Throughout history, different Chinese regimes used the imperial collection to bolster their own political legitimacy, domestically and internationally. The narrative follows the gradual formation of the Peking Palace Museum in 1925, then its hasty fragmentation as large parts of the collection were moved perilously over long distances to escape wartime destruction, and finally its formal division into what are today two Palace Museums-one in Beijing, the other in Taipei. Enlivened by the personalities of those who cared for the collection, this textured account of the imperial treasures highlights magnificent artworks and their arduous transit through politics, war, and diplomatic reconciliations. Over the years, control of the collections has been fiercely contested, from early dynasties through Mongol and Japanese invaders to Nationalist and Communist rivals- a saga that continues today. This first book-length investigation of the imperial collections will be of great interest to China scholars, historians, and Chinese art specialists. Its tales of palace intrigue will fascinate a wide variety of readers.

This Research in Education edition includes: A. A user-friendly format that models the American Psychological Association (2001) formatting for research study; A. Follows the pattern of chapters required in a research study including formatting, pagination, levels of headings, and suggestions for headings; A. Suggestions on how to choose a topic, find out and report what is known, and establish the need for the study; A. A guide for evaluating research writing as articulated in an analytic rubric; A. An introduction to qualitative, quantitative, and action research methods; A. Examples of organizers for literature review; A. Provides online resources and examples of citations and references; and A. An index to facilitate the reader's ability to quickly locate a topic. .

Contents: Western World; Eastern Asia; The Tope at Sanchi; The Tope at Amravati. Illustrated.

This volume contains a series of six lectures revolving around Chinese art entitled: introduction; bronzes and jades; stones and ceramics; calligraphy and painting; painting; and a short dissertation on the Chinese dynasties. Copiously illustrated.

From abhayamadra through zoomorphic, this is an essential dictionary for anyone stepping into the fascinating world of South and Southeast Asian art. Now with over 1,300 entries and 112 line illustrations, this revised and expanded edition makes a handy reference for travelers and residents, students, museum goers, and general readers. Explanations are succinct and easy to understand. Entries range from terms encountered in South and Southeast Asian history, religion, mythology, and literature, to those specific to art and architecture. Words are drawn from the diverse religious traditions of the region, including Buddhism, Hinduism, Islam, Jainism, Sikhism, and Taoism, and from the countries of the region, including Cambodia, India, Indonesia, Laos, Myanmar, Sri Lanka, Thailand, and Vietnam.