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A beautifully illustrated study of the caves at Dunhuang, exploring
how this important Buddhist site has been visualized from its
creation to today Situated at the crossroads of the northern and
southern routes of the ancient silk routes in western China,
Dunhuang is one of the richest Buddhist sites in the world, with
more than 500 richly decorated cave temples constructed between the
fourth and fourteenth centuries. The sculptures, murals, portable
paintings, and manuscripts found in the Mogao and Yulin Caves at
Dunhuang represent every aspect of Buddhism. From its earliest
construction to the present, this location has been visualized by
many individuals, from the architects, builders, and artists who
built the caves to twentieth-century explorers, photographers, and
conservators, as well as contemporary artists. Visualizing
Dunhuang: Seeing, Studying, and Conserving the Caves is a paperback
edition of the ninth volume of the magnificent nine-volume hardback
set, and examines how the Lo Archive, a vast collection of
photographs taken in the 1940s of the Mogao and Yulin Caves,
inspires a broad range of scholarship. Lavishly illustrated with
selected Lo Archive and modern photographs, the essays address
three main areas-Dunhuang as historical record, as site, and as art
and art history. Leading experts across three continents examine a
wealth of topics, including expeditionary photography and cave
architecture, to demonstrate the intellectual richness of Dunhuang.
Diverse as they are in their subjects and methodologies, the essays
represent only a fraction of what can be researched about Dunhuang.
The high concentration of caves at Mogao and Yulin and their
exceptional contents chronicle centuries of artistic styles, shifts
in Buddhist doctrine, and patterns of political and private
patronage-providing an endless source of material for future work.
Contributors include Neville Agnew, Dora Ching, Jun Hu, Annette
Juliano, Richard Kent, Wei-Cheng Lin, Cary Liu, Maria Menshikova,
Jerome Silbergeld, Roderick Whitfield, and Zhao Shengliang.
Published in association with the Tang Center for East Asian Art,
Princeton University
The art world is currently enthralled with contemporary Chinese
art. This thoughtful book argues, however, that American audiences
have been exposed only to a narrow range of what is available-with
the majority of attention having been given to "avant-garde,"
"experimental," or politically charged art. Outside In discusses
contemporary Chinese art in a far wider range of styles and subject
matter and substantially expands on our understanding of this work.
The book features six artists-Arnold Chang, Michael Cherney, Zhi
Lin, Liu Dan, Vannessa Tran, and Zhang Hongtu-all of whom are
American citizens yet are widely diverse in age and experience as
well as geographical and ethnic origins. In addition to extensive
personal interviews and artists' statements, there are essays that
challenge the categorization of art into such focused genres as
"Chinese," "contemporary," and "American," and reexamine the
factors that shape the development of "Chinese art" in America.
Distributed for the Princeton University Art Museum Exhibition
Schedule: Princeton University Art Museum (3/5/09 - 6/7/09)
Available in a limited print run of 1,000 sets-the stunning
nine-volume presentation of the incredible Buddhist caves at
Dunhuang in northwestern China Situated at an important juncture
within the network of silk routes from China through central Asia,
the oasis city of Dunhuang was an ancient site of Buddhist
religious activity. Southeast of the city, the Mogao Caves, also
known as the Caves of the Thousand Buddhas, are an astonishing
group of hundreds of caves-carved in the cliffs between the fourth
and fourteenth centuries-containing sculptures and paintings.
Further east sit the Yulin Caves, another critical and richly
decorated site. Featuring some of the finest examples of Buddhist
imagery to be found anywhere in the world, these caves have enticed
explorers, archaeologists, artists, scholars, and photographers
since the early twentieth century. Visualizing Dunhuang: The Lo
Archive Photographs of the Mogao and Yulin Caves presents for the
first time in print the comprehensive photographic archive-created
in the 1940s by James C. M. Lo (1902-1987) and his wife, Lucy L. Lo
(b. 1920)-of the remarkable Buddhist caves at Dunhuang. This
extraordinary nine-volume set features more than 3,000 of the
original black-and-white photographs that provide an indispensable
historical record. Invaluable for their documentary worth and
artistic quality, and thorough in their coverage and clarity, the
images represent a rare perspective on significant monuments, many
now irretrievably changed. The Lo Archive serves as a treasure
trove of historical, cultural, and artistic information for
researchers, art historians, and conservators. The introductory
volume includes an essay about the formation and history of the Lo
Archive, as well as maps, diagrams, photographs of the Mogao site,
and concordances. The central volumes contain photographs of the
Mogao and Yulin Caves, collaged photographs, several hundred newly
created diagrammatic plans, and English and Chinese captions. The
final volume is a collection of essays that addresses the
complexity and richness of the Lo Archive, and how Dunhuang has
been viewed from ancient times to the present. Contributors include
Neville Agnew, Dora Ching, Jun Hu, Annette Juliano, Richard Kent,
Wei-Cheng Lin, Cary Liu, Maria Menshikova, Jerome Silbergeld,
Roderick Whitfield, and Zhao Shengliang. Exquisitely produced, this
monumental set's abundant photographs have been lavishly printed as
tritones, allowing for the closest possible match to James Lo's
original black-and-white photographs, and for the clearest, richest
images possible. With numerous silk-screened pages and an
eight-page double-sided gatefold, Visualizing Dunhuang stands as a
definitive reference for scholars, collectors, and libraries in art
history and Asian studies. Published in association with the Tang
Center for East Asian Art, Princeton University
The "Wu Family Shrines," one of the most important cultural
monuments of early China, comprise approximately fifty stone slabs
from the so-called Wu cemetery in Shandong province. Depicting
emperors and kings, heroic women, filial sons, and mythological
subjects, these famous carved and engraved reliefs may have been
intended to reflect such basic themes as loyalty to the emperor,
filial piety, and wifely devotion; centuries later, they vividly
bring to life the art, social conditions, and Confucian ideology of
the Eastern Han.This generously illustrated book examines the stone
slabs and their rubbings as artifacts with a complex cultural
history from the second century to the present, and addresses
questions about the traditional identification of the structures as
Han dynasty shrines of the Wu family. Written by a team of
distinguished scholars in the fields of Chinese art and history,
the book includes a novel examination of Han burial items in
relation to burial belief, pictorial carvings, and funerary
architecture. Distributed for the Princeton University Art Museum
Exhibition Schedule: Princeton University Art Museum, March 5 -
June 26, 2005
The "Wu Family Shrines" pictorial carvings from Han dynasty China
(206 BCE-220 CE) are among the earliest works of Chinese art
examined in an international arena. Since the eleventh century, the
carvings have been identified by scholars as one of the most
valuable and authentic materials for the study of antiquity. This
important book presents essays by archaeologists, art and
architectural historians, curators, and historians that reexamine
the carvings, adding to our understanding of the long cultural
history behind them and to our knowledge of Han practices. The
authors offer a thorough analysis of surviving physical and visual
sources, invoking fresh perspectives from new disciplines. Essays
address the ideals, practices, and problems of the "Wu Family
Shrines" and Han China; Han funerary art and architecture in
Shandong and other regions; architectural functions and carved
meanings; Qing Dynasty Reception of the Wu Family Shrines; and
more. Distributed for the Princeton University Art Museum
The first in-depth exploration of the artistic and cultural
achievements of China's "classical" era Age of Empires presents the
art and culture of China during one of the most critical periods of
its history - the four centuries from 221 B.C. to A.D. 200-- when,
for the first time, people of diverse backgrounds were brought
together under centralized imperial rule that fostered a new and
unified identity. The Qin and Han empires represent the "classical"
era of Chinese civilization, coinciding in both importance and
timing with the Greco-Roman period in the West. Under the
short-lived Qin and centuries-long Han, warring principalities were
united under a common emperor, creating not only political and
intellectual institutions but also the foundation for a Chinese
art, culture, and national identity that lasted over two millennia.
Over 150 works from across the full breadth of Chinese artistic and
decorative media-- including ceramics, metalwork, textiles, armor,
sculpture, and jewelry - are featured in this book and attest to
the unprecedented role of art in ancient Chinese culture. These
stunning objects, among them soldiers from the renowned terracotta
army of Qin Shihuang, China's first emperor, are drawn from
institutions and collections in China and appear here together for
the first time. Essays by leading scholars, accompanied by dazzling
new photography of the objects, address the sweeping societal
changes underway, and trace a progression from the early, formative
years through unprecedented sophistication and technical
accomplishment-embodied in an artistic legacy that reverberates in
China's national identity to this day. Published by The
Metropolitan Museum of Art/Distributed by Yale University Press
Exhibition Schedule: The Metropolitan Museum of Art
(04/03/17-07/16/17)
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