By Martin J. Powers, Katherine R. Tsiang
Exploring the historical past of artwork in China from its earliest incarnations to the current day, this accomplished quantity contains dozen newly-commissioned essays spanning the theories, genres, and media relevant to chinese language artwork and thought all through its history.
- Provides a great choice of essays selling a comparative knowing of China’s lengthy checklist of cultural production
- Brings jointly a world group of students from East and West, whose contributions diversity from an outline of pre-modern concept, to these exploring calligraphy, tremendous portray, sculpture, add-ons, and more
- Articulates the course during which the sector of chinese language paintings historical past is relocating, in addition to delivering a roadmap for historians drawn to comparative examine or theory
- Proposes new and revisionist interpretations of the literati culture, which has lengthy been an enormous staple of chinese language paintings history
- Offers a wealthy perception into China’s social and political associations, non secular and cultural practices, and highbrow traditions, along chinese language paintings background, idea, and criticism
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Extra info for A Companion to Chinese Art
Fairbank, J. K. (1991). The Old Order. In R. ), The Chinese: Adapting the Past, Facing the Future. Ann Arbor: University of Michigan, Center for Chinese Studies. Fan, T. C. (1949). Chinese Fables and Anti-Walpole Journalism. The Review of English Studies, 25(98): 141–151. Farquhar, J. B. and Hevia, J. L. (1993). Culture and Postwar American Historiography of China. Positions, 1(2): 486–525. Feuerwerker, A. (1985). Review of Discovering History in China: American Historical Writing on the Recent Chinese Past by Paul A.
Printing, whose earliest known examples in the Tang period (618–907) helped to promulgate Buddhist texts, became more widely used from the tenth century onward. J. P. Park provides details of the rapid expansion of printing and its impact on popular culture and society during the Ming dynasty (1368–1644). Printing as a commercial enterprise grew rapidly during this period and spread to many parts of China, spurred by lower costs and the growth of literacy. The large number of candidates studying for the official examination system, in addition to increased numbers of educated women, fed this market demand.
Excellent publications in that genre by Richard Vinograd and Robert Thorpe, or Craig Clunas, already exist. Yet many of these chapters are the first of their kind, offering broad treatment and scholarly depth on such matters as art collecting, print culture, the language of quality in art, personal accessories as art, the visualization of time, or popular literature and visual culture, to name only a few. There are regrettable omissions, due to the vicissitudes of the moment and the many demands impinging upon colleagues in their daily lives.
A Companion to Chinese Art by Martin J. Powers, Katherine R. Tsiang