Internationally renowned and a crucial classroom text, The Arts of China has been revised and expanded by the late Michael Sullivan, with Shelagh Vainker. This new, sixth, edition has an emphasis on Chinese art history, not as an assemblage of related topics, but as a continuous story. With updated attributions and dating throughout and a revised bibliography, it reflects the latest archaeological discoveries, as well as giving increased attention to modern and contemporary art and to calligraphy throughout China’s history, with additional discussions of work by women artists. Visual enhancements include all new maps, and approximately one hundred new color illustrations—bringing the total to well over four hundred color illustrations.Written in the engaging and lucid style that is Sullivan's hallmark, The Arts of China is readily accessible to general readers as well as to serious students of art history. Sullivan's approach remains true to the way the Chinese themselve
A brief stay in France was, for many Chinese workers and Chinese Communist Party leaders, a vital stepping stone for their careers during the cultural and political push to modernize China after World War I. For the Chinese students who went abroad specifically to study Western art and literature, these trips meant something else entirely. Set against the backdrop of interwar Paris, Paris and the Art of Transposition uncovers previously marginalized archives to reveal the artistic strategies employed by Chinese artists and writers in the early twentieth-century transnational imaginary and to explain why Paris played such a central role in the global reception of modern Chinese literature and art.While previous studies of Chinese modernism have focused on how Western modernist aesthetics were adapted or translated to the Chinese context, Angie Chau does the opposite by turning to Paris in the Chinese imaginary and discussing the literary and visual artwork of five artists who moved betw
The flag-bearers of the Chinese Contemporary ArtIn the late 1970s, at the close of the Cultural Revolution, a group ofyoung, largely auto-didact artists in China endeavored to create artworkthat would
Reverse paintings on glass occupy a special place in Chinese art, spanning the genres of glass working, export art, folk art, erotica, and meiren hua (paintings of beauties). Their unique appearance is the result of a challenging production process in which artists layer pigments in the reverse order of the normal painting procedure–highlights first, then mid-layers, and finally base colours. The final product is viewed in reverse from the opposite side of the glass, which must also be considered when creating the paintings. A product of the encounter between East and West, the manufacture of glass paintings in China was stimulated by European glass paintings brought to the imperial court by traders and diplomats in the seventeenth century. Initially made in Canton for Western consumers, by the eighteenth century their production had spread throughout China, with subjects and styles adapted to suit local tastes. The glass paintings in the Mei Lin Collection represent this later floweri
The contemporary art scene in China has exploded in the past few years. Art districts have formed in marginal neighborhoods in Beijing and Shanghai and become crowded with artists, galleries, museums,
This visually stunning book focuses on the rebirth of Chinese art in the twentieth century under the influence of Western art and culture. Michael Sullivan, recognized throughout the world as a leadin
The contemporary art scene in China has exploded in the past few years. Art districts have formed in marginal neighborhoods in Beijing and Shanghai and become crowded with artists, galleries, museums
The first intimate visual documentation of artists who have influenced and transformed the Chinese art scene over the last two decades. Since 1993, photographer Thomas Fuesser has developed close and
In this lavishly illustrated study, the scholar and critic Yi Ying brings a distinctly Chinese perspective to the development of art and artists in China since 1949. These have been years of dramatic change for China, and the art of this period is therefore of historical, political and cultural interest, being first used to promote the revolutionary cause, later to question and criticise and, more recently, charting the changes in cultural and economic policy that have taken place since 1978. In the twenty-first century, Chinese art is diverse, distinctive, and highly prized in the global art market. Presented here in English translation for the first time, Yi's narrative opens up fresh questions about both the nature of contemporary art and the China of today.
Set in a completely re-imagined Dublin underworld, Made in China involves martial artists, rogue cops and savage low-lifes. A dreadful accident causes a violent tug-of-war between two criminal footsol
Taking aim at the conventional narrative that standard, national languages transform 'peasants' into citizens, Gina Anne Tam centers the history of the Chinese nation and national identity on fangyan - languages like Shanghainese, Cantonese, and dozens of others that are categorically different from the Chinese national language, Mandarin. She traces how, on the one hand, linguists, policy-makers, bureaucrats and workaday educators framed fangyan as non-standard 'variants' of the Chinese language, subsidiary in symbolic importance to standard Mandarin. She simultaneously highlights, on the other hand, the folksong collectors, playwrights, hip-hop artists and popular protestors who argued that fangyan were more authentic and representative of China's national culture and its history. From the late Qing through the height of the Maoist period, these intertwined visions of the Chinese nation - one spoken in one voice, one spoken in many - interacted and shaped one another, and in the proc
Taking aim at the conventional narrative that standard, national languages transform 'peasants' into citizens, Gina Anne Tam centers the history of the Chinese nation and national identity on fangyan - languages like Shanghainese, Cantonese, and dozens of others that are categorically different from the Chinese national language, Mandarin. She traces how, on the one hand, linguists, policy-makers, bureaucrats and workaday educators framed fangyan as non-standard 'variants' of the Chinese language, subsidiary in symbolic importance to standard Mandarin. She simultaneously highlights, on the other hand, the folksong collectors, playwrights, hip-hop artists and popular protestors who argued that fangyan were more authentic and representative of China's national culture and its history. From the late Qing through the height of the Maoist period, these intertwined visions of the Chinese nation - one spoken in one voice, one spoken in many - interacted and shaped one another, and in the proc
In The Painter's Practice, James Cahill reveals the intricacies of the painter's life with respect to payment and patronage--an approach that is still largely absent from the study of East Asian art.
Since the end of the Cultural Revolution a whole new generation of artists has emerged in mainland China. This striking new volume presents seventy five artworks by twenty seven of these young Chinese
In this book, Yan Geng examines Mao’s image from the perspective of its producers, focusing on four artists, chosen for both the diverse media they worked in and their diverse backgrounds. The book su
Zen is a school of Mahayana Buddhism that developed in China during the Tang dynasty. Zen emphasizes a rigorous meditation practice, insight into Buddha’s nature, and the personal expression of this i
The first book to focus on Chinese artists born in the 1980s, exploring the advent of a new generation appearing on the national and international scenes. This visionary, forward-looking selection o
《發光體1號:親歷中國當代藝術現場》內容簡介：With the explosive growth in the art world in China,This book Introduction the volume of exhibitions has expanded from a handful to thousands.Each year China's galleries,private
Chinese artists, activists, and netizens are pioneering a new order of pornographic representation that is in critical dialogue with global entertainment media. Jacobs examines the role of sex-positiv
