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The Sinister Way
The most striking feature of Wutong, the preeminent God of Wealth in late imperial China, was the deity's diabolical character. Wutong was perceived not as a heroic figure or paragon of noble qualities but rather as an embodiment of humanity's basest vices, greed and lust, a maleficent demon who preyed on the weak and vulnerable. In The Sinister Way, Richard von Glahn examines the emergence and evolution of the Wutong cult within the larger framework of the historical development of Chinese popular or vernacular religion—as opposed to institutional religions such as Buddhism or Daoism. Von Glahn's study, spanning three millennia, gives due recognition to the morally ambivalent and demonic aspects of divine power within the common Chinese religious culture.
Interpreting Art in Museums and Galleries
In this pioneering book, Christopher Whitehead provides an overview and critique of art interpretation practices in museums and galleries. Covering the philosophy and sociology of art, traditions in art history and art display, the psychology of the aesthetic experience and ideas about learning and communication, Whitehead advances major theoretical frameworks for understanding interpretation from curators’ and visitors’ perspectives. Although not a manual, the book is deeply practical. It presents extensively researched European and North American case studies involving interviews with professionals engaged in significant cutting-edge interpretation projects. Finally, it sets out the et...
Is Art History Global?
This is the third volume in The Art Seminar, James Elkin's series of conversations on art and visual studies. Is Art History Global? stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline. Participants range from Keith Moxey of Columbia University to Cao Yiqiang, Ding Ning, Cuautemoc Medina, Oliver Debroise, Renato Gonzalez Mello, and other scholars.
Art Worlds
The growth of Shanghai in the late nineteenth century gave rise to an exciting new art world in which a flourishing market in popular art became a highly visible part of the treaty port’s commercialized culture. Art Worlds examines the relationship between the city’s visual artists and their urban audiences. Through a discussion of images ranging from fashionable painted fans to lithograph-illustrated magazines, the book explores how popular art intersected with broader cultural trends. It also investigates the multiple roles played by the modern Chinese artist as image-maker, entrepreneur, celebrity, and urban sojourner. Focusing on industrially produced images, mass advertisements, and...
On Telling Images of China
The essays in this volume address a diverse range of issues in China’s narrative art and visual culture mainly from the Ming dynasty (1368–1644) to the present. These studies attend to the complex ways in which images circulate in pictorial media and across boundaries between ‘high art’ and popular culture—images in paintings, prints, stone engravings and posters, as well as in film and video art. In addition, the authors examine the roles of ancient exemplary stories and textual narratives, as well as their reiteration in the visual arts in early modern and modern social and political contexts. The volume is divided into three sections: Representing Paradigms, Interpreting Literary Themes and Narratives, and the Medium and Modernity. While the essays in each section deal with concerns in the field of China’s art history, an editors’ introduction serves to position the topic of narrative art and to introduce definitions and genre issues which run through the book. As a whole, the volume invites reflection on the intrinsic nature of narratives and their pictorial lives, and presents new research which challenges established views and paradigms.
Nominal Things
Introduction -- Part I. The lexical picture. Names as implements; Picturing names -- Part II. The empirical impression. The style of antiquity; Agents of change; Nominal empiricism -- Part III. The schematic thing. Substance into schema; Nominal casting -- Conclusion.
A Companion to Asian Art and Architecture
A Companion to Asian Art and Architecture presents a collection of 26 original essays from top scholars in the field that explore and critically examine various aspects of Asian art and architectural history. Brings together top international scholars of Asian art and architecture Represents the current state of the field while highlighting the wide range of scholarly approaches to Asian Art Features work on Korea and Southeast Asia, two regions often overlooked in a field that is often defined as India-China-Japan Explores the influences on Asian art of global and colonial interactions and of the diasporic communities in the US and UK Showcases a wide range of topics including imperial commissions, ancient tombs, gardens, monastic spaces, performances, and pilgrimages.
Fantastic Fauna from China to Crimea
Numerous Iron-Age nomadic alliances flourished along the 5000-mile Eurasian steppe route. From Crimea to the Mongolian grassland, nomadic image-making was rooted in metonymically conveyed zoomorphic designs, creating an alternative ecological reality. The nomadic elite nucleus embraced this elaborate image system to construct collective memory in reluctant, diverse political alliances organised around shared geopolitical goals rather than ethnic ties. Largely known by the term "e;animal style"e;, this zoomorphic visual rhetoric became so ubiquitous across the Eurasian steppe network that it transcended border regions and reached the heartland of sedentary empires like China and Persia. This book shows how a shared fluency in animal-style design became a status-defining symbol and a bonding agent in opportunistic nomadic alliances, and was later adopted by their sedentary neighbours to showcase worldliness and control over the "e;Other"e;. In this study of enormous geographical scope, the author raises broader questions about the place of nomadic societies in the art-historical canon.
