Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Chinese Pottery and Porcelain
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Making of a Modern Art World
The Making of A Modern Art World explores the artistic institutions and discursive practices prevailing in Republican Shanghai, aiming to reconstruct the operational logic and the stratified hierarchy of Shanghai’s art world. Using guohua as the point of entry, this book interrogates the discourse both of guohua itself, and the wider discourse of Chinese modernism in the visual arts. In the light of the sociological definition of ‘art world’, this book contextualizes guohua through focusing on the modes of production and consumption of painting in Shanghai, examining newly adopted modern artistic practices, namely, art associations, periodicals, art colleges, exhibitions, and the art market.
Cai Guo-Qiang
First catalog to cover the range of materials used by Cai Guo-Qiang, from gunpowder and paint on canvas, porcelain and silk Covers the artist's entire career to date Accompanies an exhibition at the Ashmolean Museum concluding on 19 April 2020 Cai Guo-Qiang is famous for his work with gunpowder explosions and fireworks, with which he has created spectacular displays in almost 30 countries, in the skies across Asia, Europe and America. This catalog not only shows the artist's skills and innovation in using silk, porcelain and other materials together with gunpowder, but also how he adapts them to explore his own central concerns of creation, destruction, chance and the cosmos. Through gunpowd...
Liu Dan
Published to coincide with a solo exhibition of the work by Liu Dan (b.1953), to be displayed in the Khoan and Michael Sullivan Gallery for Chinese Painting at the Ashmolean. Liu Dan is one of China's leading artists, at the forefront of the generation of painters who have been working in radically new ways in the traditional medium of ink. The exhibition will include a painting presented to the museum by the artist in honour of Michael Sullivan (1916-2013) and which was exhibited in Liu Dan's 2013 exhibition at Suzhou Museum, for which Professor Sullivan wrote a catalogue essay. In view of this connection, the exhibition will focus on Michael Sullivan's interest in east-west connections in painting, and Liu Dan's own interest in old masters both Chinese and European, with an emphasis on rock paintings and landscapes. Exhibition: Ashmolean Museum, Oxford, UK (20.10.2016-26.02.2017).
Collecting the Revolution
In the late 1960s, student protests broke out throughout much of the world, and while Britain’s anti-Vietnam protestors and China’s Red Guards were clearly radically different, these movements at times shared inspirations, aspirations, and aesthetics. Within Western popular media, Mao’s China was portrayed as a danger to world peace, but at the same time, for some on the counter-cultural left, the Cultural Revolution (1966–1976) contained ideas worthy of exploration. Moreover, because of Britain’s continued colonial possession of Hong Kong, Britain had a specific interest in ongoing events in China, and information was highly sought after. Thus, the objects that China exported—pr...
Luxury in Global Perspective
Machine generated contents note: Luxury and global history Bernd-Stefan Grewe and Karin Hofmeester; 1. Precious things in motion: luxury and the circulation of jewels in Mughal India Kim Siebenhuner; 2. Diamonds as a global luxury commodity Karin Hofmeester; 3. Gold in twentieth-century India - a luxury? Bernd-Stefan Grewe; 4. Chinese porcelain local and global context: the imperial connection Anne Gerritsen; 5. Luxury or commodity? The success of Indian cotton cloth in the first global age Giorgio Riello; 6. The gendered luxury of wax prints in South Ghana: a local luxury good with global roots Silvia Ruschak; 7. From Venice to East Africa: history, uses and meanings of glass beads Karin Pallaver; 8. Imports and autarky: tortoiseshell in early modern Japan Martha Chaiklin; 9. Tickling and klicking the ivories - the metamorphosis of a global commodity in the nineteenth century Jonas Kranzer; 10. The conservation of luxury: safari hunting and the consumption of wildlife in twentieth-century East Africa Bernhard Gissibl; 11. Luxury as a global phenomenon: concluding remarks Bernd-Stefan Grewe and Karin Hofmeester
The European Canton Trade 1723
This critically-commented source edition contains the commercial directions, merchant diary and naval log of four East India Company ships, which sailed from London to Canton, China in 1723, as well as the travelogue of another contemporary trader who sailed from Ostend. It highlights the roles of cooperation and competition in shaping the relations between these and other European companies as well as the everyday lives of European merchants and mariners. The edition thus sheds new light on the history of the East Indies trade during the eighteenth century and its role in encouraging early modern globalization.
Women of Chinese Modern Art
Bringing to light the largely overlooked female participation in domestic and international art worlds, this book offers the first comprehensive study of how women embroiderers, traditionalist calligraphers and painters, including Shen Shou, Wu Xingfen, Jin Taotao, and members of Chinese Women’s Society of Calligraphy and Painting, shaped the terrain of the modern art world and gender positioning during China’s important moments of social-cultural transformation from empire to republic. Drawing on a wealth of previously unexhibited artworks, rare artist’s monographs, women’s journals, personal narratives, diaries, and catalogs of international expositions, Doris Sung not only affirms women’s significant roles as guardian and innovator of traditionalist art forms for a modern nation, but she also reveals their contribution to cultural diplomacy and revaluation of Chinese artistic heritage on the international stage in the early twentieth century.
