This book, first published in 1935, examines the world of Chinese painting: the background, styles, audience and reception, intentions and achievements. Written with a Western readership in mind, it intends to put Chinese visual art in the perspective of its history and culture, and clarify its ideas and meanings.

This book, first published in 1935, examines the world of Chinese painting: the background, styles, audience and reception, intentions and achievements. Written with a Western readership in mind, it intends to put Chinese visual art in the perspective of its history and culture, and clarify its ideas and meanings.

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 1940 the Chinese writer Chiang Yee arrived in Oxford as a refugee from the London Blitz, his lodgings having been bombed. He came to Oxford, he writes, "in rather a turmoil". What was meant to be a brief escape turned into a five-year stay, an affectionate relationship with the city, and the fifth in the hugely successful "Silent Traveller" series. Looking at the city and its historic university with the curiosity and openness of a complete stranger, Chiang Yee paints a revealing picture of Oxford's particular atmosphere, its rituals and traditions. He mixes with undergraduates and dons, visits pubs and restaurants, witnesses Union debates and punting on the river, all with a gentle astonishment and perceptive eye for detail. Chiang Yee explores the colleges and other student haunts, but also the city and its surrounds, from Port Meadow to Headington and Hinksey. First published in 1944, The Silent Traveller in Oxford evokes a wartime city of shortages and blackouts. It also captures an earlier age of university life, when students drank sherry and scaled college walls to escape prowling Bulldogs. Throughout Chiang Yee draws parallels between Oxford and his native China, comparing the seasons, architecture, and the nature of learning itself. Illustrated with the author's own sketches, this book is both an atmospheric account of 1940s Oxford and a charming "Oriental" view of one of Britain's best loved cities.