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China boasts a history of art stretching over 5,000 years and embracing a vast array of forms--objects of jade, lacquer and porcelain, painted scrolls and fans, sculptures in stone, bronze and wood, a

Gardens are sites that can be at one and the same time admired works of art and valuable pieces of real estate. As the first account in English to be wholly based on contemporary Chinese sources, this

Pictures and Visuality in Early Modern China is not simply a survey of sixteenth-century images, but rather, a thorough and thoughtful examination of visual culture in China's Ming Dynasty, one that considers images wherever they appeared—not only paintings, but also illustrated books, maps, ceramic bowls, lacquered boxes, painted fans, and even clothing and tomb pictures.Clunas's theory of visuality incorporates not only the image and the object upon which it is placed but also the culture which produced and purchased it. Economic changes in sixteenth-century China—the rapid expansion of trade routes and a growing class of consumers—are thus intricately bound up with the evolution of the image itself. Pictures and Visuality in Early Modern China will be a touchstone for students of Chinese history, art, and culture.

Those in the economic elite of Ming China surrounded themselves with exquisite objects practical only in that they brought pleasure on sight and marked the social worth of the possessor. The author ex

Screen of Kings is the first book in any language to examine the cultural role of the regional aristocracy – relatives of the emperors – in Ming dynasty China (1368–1644). Through an analysis of their

Now in paperbackThis outstanding and original book, presented here with a new preface, examines the history of material culture in early modern China. Craig Clunas analyzes “superfluous things”—the pa

What is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectu

文徵明（1470–1559）是中國歷史上赫赫有名的藝術家，以「明四大家」之一員留名畫史，向來備受尊崇。本書以一個嶄新的研究取向，拓展了我們對文徵明這位偉大人物的瞭解。不同於以往的研究成果聚焦於文徵明作品的外在形式，作者於本書中特別關注作品的製作情境，例如時機與場合，盡可能地利用文徵明當時的文獻材料（特別是其詩文）與作品，並參照人類學、社會學、歷史學和藝術史學的研究成果與方法，自人情義務與禮物交換的

Ask anyone what single object they associate with China and the most common answer will be a Ming vase. Probably without even knowing the dates of the Ming dynasty (13681644), people are aware of the

Ask anyone what single object they associate with China and the most common answer will be a Ming vase. Probably without even knowing the dates of the Ming dynasty (1368–1644), people are aware of the

This ground-breaking, beautifully illustrated publication is the outcome of the conference ‘Ming: Courts and Contacts 1400-1450' that accompanied the British Museum's major exhibition Ming: 50 years t