Kategoria BISAC: Art >> Asian - General

From its underground genesis during the Cultural Revolution (1966-76), contemporary Chinese art has become a dynamic and hugely influential force in a globalized art world. In this first major introduction to the topic, Wu Hung provides an accessible, focused, and much-needed narrative of the development of Chinese art across all media from the 1970s to the 2000s, a time span characterized by radical social, political, and economic change in China. The book is a richly illustrated and easy-to-navigate chronological survey that considers contemporary Chinese art both in the context of...

Founded in 1933, the Seattle Art Museum is home to a premier collection of Chinese art. This book is the first to chronicle and analyze the growth of the collection, which was largely assembled during the first half of the twentieth century. Reviewing more than one hundred boxes of museum archives, annual reports, correspondences, and available records of all transactions, Josh Yiu provides a nuanced account of Seattle's Chinese art collection, and reconsiders the ?golden age? of collecting Chinese art in the early twentieth century. Yiu demonstrates the challenges for Westerners to...

Sazigyo are fine, tablet-woven Burmese tapes used to bind the palm-leaf manuscripts of an earlier era. Tiny images and extended texts were deftly woven into the long, colorful bindings. These Buddhist ?textile texts? were commissioned by donors to make merit in the hope of attaining a better rebirth and ultimately nirvana.

This beautiful book elucidates the religious and social context of sazigyo and describes in detail the weaves, texts, designs, and images. It contains stunning, full-scale reproductions and enlargements of many hundreds of sazigyo segments found in collections...

Korean painters participated in two major cultural trends of the late Choson period in the eighteenth and nineteenth centuries: inquiry into things Korean and investigation of things Western. Departing from Chinese sources long considered authoritative, they developed the distinctly Korean mode known as "true-view" landscape painting for depicting the scenery of their own country. Rooted in the documentary painting of the early Choson period and displaying special techniques developed to describe distinctive features of Korea's topography, true-view paintings portray the most exemplary and...

In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented works not only offer new insights into late imperial China's most influential emperor, but also reflect one way in which Chinese art...

Part of the first exchange agreement between China's Palace Museum and an American museum, Forbidden City: Imperial Treasures from Palace Museum, Beijing accompanies an exhibition of the same name at the Virginia Museum of Fine Arts in Richmond. More than 200 works of art drawn from the collection of the Palace Museum?court paintings, furniture, costumes, sculpture, decorative objects, arms, and armor?highlight the artistic accomplishments of the Ming (1368?1644) and Qing (1644?1911) dynasties, with a focus on the mid-Qing dynasty of the 18th century. In addition, the book features...

A collection of 101 full page color plates

Lam Qua (1801-1860) was an artist from Canton province in Qing Dynasty China, who specialized in western-style portraiture. He developed a following among the foreign community in Canton and Macau and was the first Chinese portrait painter to be exhibited in the West. From 1836 to 1855, Peter Parker, an American medical missionary, and founder of the Ophthalmic Hospital at Canton, commissioned Lam Qua to paint more than 100 pre-operative portraits of patients with large tumors or other major deformities. Parker displayed the...

As the Opium War unfolded in Guangdong Province, the painter Su Renshan (1814- c.1850) exploded onto the art scene with a bold, paradigm-turning new voice. A Defiant Brush takes a fresh look at this under appreciated artist in the context of a nascent Chinese modernism.

In 1839 Guangzhou shifted from a cosmopolitan trading center with a diverse art world into a place of violence. During the following decade, one voice of discontent and defiance rang outabove all others: Su Renshan's. His provocative, uncompromising, and sometimes ugly paintings berate Confucius for his hypocrisy. He...

Maps are the manifestation of an intellectual construct of physical and metaphysical environments. They are rich cultural objects presenting and transmitting information about time and place of production. A map is not neutral - it is an interactive, constructed representation of space as perceived and presented by its maker and then interpreted by the viewer. Maps thus reveal methodological relationships between artistic and scientific approaches, aesthetics and functionality and form and content in the context of visual culture. And given their subjective nature, maps reproduce the views...