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Book
196 pages ; 30 cm
  • Repentant monk : illusion and disillusion in the art of Chen Hongshou / Julia M. White
  • Enigma and intertextuality : creative response to adversity / Tamara Bentley
  • Printed beauties / Hiromitsu Kobayashi
  • Visions of the occult in early figure painting / Shi-yee Liu
  • Living in a world of regret: Buddhist paintings
  • Composite identities : portraits / Richard Vinograd
  • Catalogue
  • Appendix: Inscriptions and documentation / Julia Jaw.
Repentant Monk: Illusion and Disillusion in the Art of Chen Hongshou is the first U.S. exhibition focusing solely on Chen Hongshou (1599-1652), a major figure in Chinese painting. Chen has long been regarded as one of the most visually exciting artists of his time as evidenced in this exhibition by a careful selection of his best extant work including figure, landscape, and bird and flower paintings drawn from collections world-wide. Chen's iconic manner of painting figures in the styles of ancient masters lends an aura of antiquity to his work which is equally charged by distinct expressions of irony, humor, and pathos. In his landscape paintings we recognize his vast knowledge of past traditions while in his bird and flower paintings we see a remarkable freshness and modernity that has tremendous popular appeal. Repentant Monk addresses the need for a greater historical understanding of this artist's work and breadth of paintings made during the transitional period of the late Ming and early Qing dynasties (early to mid- seventeenth century). The title refers to the sobriquet that Chen adopted in 1646, and goes to the heart of the exhibition content. Chen used "Repentant Monk" (Hui Seng) in seals and signature for a short period of time but his paintings reflected his personal state of mind throughout his later period. His withdrawal from society and adoption of this name make public both his disappointment with the Ming as well as his own regret at surviving and carrying on into the new Qing dynasty rather than following other loyalists to death by their own hands. The exhibition will include work from major museums worldwide and includes strategic loans such as Elegant Gathering (1646-47) from the Shanghai Museum, Scenes from the Life of Tao Yuanming (1650) from the Honolulu Museum of Art, and The Mountain of Five Cataracts (1624) from The Cleveland Museum of Art. The catalogue includes an introduction by exhibition curator Julia M. White with essays by Tamara Bentley, Shi-yee Liu, Richard Vinograd, Hiromitsu Kobayashi, and Patricia Berger. Transcriptions and translations are compiled by Julia Jaw. Published in association with The Berkeley Art Museum and Pacific Film Archive (BAMPFA). Exhibition dates: October 25, 2017-January 28, 2018.
(source: Nielsen Book Data)9780520294332 20171017
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01

2. Bo gu ye zi [2015]

Book
4, 2, 5, 193 pages : illustrations ; 23 cm.
叶子是酒牌的别称, 是古人饮酒行令以助兴的工具. "博古叶子"为明末清初著名书画家陈洪绶于去世 前一年所作, 从陶朱公"无量数"至白圭"十文钱", 共四十八张, 一叶一事, 所涉人物囊括王侯贵戚, 权臣佞幸, 富商巨贾, 文人高士, 皆与"金钱"有关. 汪南溟为之标目题赞, 刻工则为徽派名手黄子立, 从文字至图画至刻工, 堪称"三绝". 本书勾稽历代典籍, 对"博古叶子"提及的人物故事及饮酒法则逐一解 说, 同时阐发画幅内容精妙之处. 附"数钱叶谱".
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
313 pages : chiefly ill. ; 24 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
4 v. : ill. ; 38 cm.
陈洪绶(1598-1652)明末清初书画家,诗人.字章侯,号老莲.浙江诸暨枫桥人.他是一位擅长人物,精工花鸟,兼能山水的绘画大师,与北方崔子忠齐名,号称"南陈北崔".当代国际学者推为"代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人".
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
xvi, 263 p., [24] p. of plates : ill. (some col.), map ; 26 cm.
  • Introduction: linking Ming-Qing aesthetic changes with the economic setting-- The authenticity of emotion (qing): Chen's romance drama illustrations and paintings of beautiful women-- The vernacular voice in Chen's Water Margin playing cards-- Expanded frames: the late Ming print market-- The sage and the self: Chen's late-period eremitic figures-- Chen's painting practice: production, replication, exchange-- The divergence of profit and virtue: Chen Hongshou's Venerating Antiquity playing cards-- Conclusion: reinventing classical values in a commercial context-- Bibliography Index.
  • (source: Nielsen Book Data)9780754666721 20160614
Despite the importance of Chen Hongshou (1599-1652) as an artist and scholar of the Ming period, until now no full length study in English has focused on his work. Author Tamara H. Bentley takes a broadly interdisciplinary approach, treating Chen's oeuvre in relation to literary themes and economic changes, and linking these larger concerns to visual analyses. Considering Chen's paintings and prints alongside Chen's romance drama commentaries and prefaces and his collected writings (particularly poetry), Bentley sheds new light not only on Chen, but also on an important cultural moment in the first half of the seventeenth century. Through analysis of Chen's figure paintings and print designs, Bentley examines the artist's engagement with the values of "authenticity" and "emotion, " which were part of a larger discourse stressing idiosyncrasy, the individual voice, and vernacular literature. She contrasts these values with the commercial aspects of his production, geared at an expanding art market of well-to-do buyers, excavating the apparent contradiction inherent in the two pursuits. In the end, she suggests, the emphasis on the "authentic" voice was marketed to a broad field of anonymous buyers. Though her primary focus is on Chen Hongshou, Bentley's investigation ultimately concerns not only this individual artist, but also the effect of early modern changes on an artist's mode of working and his self-image, in the West as well as the East. The study touches upon expanding international trade and the rise of middle class art markets (including print markets), not only in China but also in the Dutch Republic in circa 1630-1650. Bentley investigates the specific rhetoric of different categories of images, including Chen's non-literal figurative works; literal commemorative portraits; his printed romance-drama illustrations; and his printed playing cards. Bentley's investigation takes in issues of studio practice (including various types of image replication) as well as the relationships between Chen's images and their related texts.
(source: Nielsen Book Data)9780754666721 20160614
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01

6. Shui hu ye zi [2012]

Book
1 volume in one case : facsimlies ; 34 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
xxx, 378 p. : ill. ; 29 cm.
  • Introduction
  • pt. 1. The composition of the book. 1. The gallery of portraits re-created
  • Liu Yuan's cover leaf
  • Prefatory autographs
  • The preface writers license the pictorial book
  • The list of contents
  • Lingyan Ge, the historical site
  • 2. Composing the vassal's figure
  • Unordinary images
  • Physiognomic fantasies
  • Costumes in disarray
  • Under the guise of bandits
  • 3. The act of turning the leaf
  • Structures of the book
  • Re-reading Du Fu
  • The damask at leaf's edge
  • pt. 2. The publication of the book. 4. Painter, publisher, reader-viewer : whose gallery?
  • The "social drama" of the Ming-Qing transition / Liu Yuan and Tong Pengnian
  • A model for community : echoing voices among the preface writers
  • Climbing Yingzhou : Wu Weiye's response
  • 5. Vexations of passage
  • Variant endings
  • Maxims, furtively impressed
  • In the hands of all the masters
  • From manuscript to printed book --- Appendix. Liu Yuan's Lingyan ge with annotated translations
  • Reference matter
  • Notes
  • Works cited
  • Character list
  • Index.
Liu Yuan's "Lingyan ge", a woodblock-printed book from 1669, re-creates a portrait gallery that memorialized 24 vassals of the early Tang court. Liu accompanied each figure, presented under the guise of a bandit, with a couplet; the poems, written in various scripts, are surrounded by marginal images that allude to a contemporary novel. Religious icons supplement the portrait gallery. Liu's re-creation is fraught with questions. This study examines the dialogues created among the texts and images in "Lingyan ge" from multiple perspectives. Analysis of the book's materialities demonstrates how "Lingyan ge" embodies, rather than reflects, the historical moment in which it was made. Liu unveiled and even dramatized the interface between manuscript and printed book in "Lingyan ge". Authority over the book's production is negotiated, asserted, overturned, and reinstated. Use of pictures to construct a historical argument intensifies this struggle. Anne Burkus-Chasson argues that despite a general epistemological shift toward visual forms of knowledge in the seventeenth century, looking and reading were still seen as being in conflict. This conflict plays out among the leaves of Liu Yuan's book.
(source: Nielsen Book Data)9780674032804 20160604
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
320 p. , [8] of plates. : ill. ; 21 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
p. 20485-20530 : ill. ; 22 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
211 p. : Chiefly col. ill. ; 30 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
2, 5, 215, 33 p. : chiefly ill. ; 25 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
xv, 271 p. : ill. ; 23 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
xiii, 332 p. : map ; 22 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01

14. Jiu pai [2005]

Book
360 p. : ill. ; 25 cm.
  • Bo gu ye zi
  • Lie xian jiu pai
  • Han han zhai jiu pai.
  • 博古叶子
  • 列仙酒牌
  • 酣酣斋酒牌.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
3 v. : ill. ; 32 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
xvi, 539 p. : ill. ; 24 cm.
  • List of Illustrations and Tables Acknowledgments Abbreviations PART I: INTRODUCTION 1. On the History of the Book in China--Cynthia J. Brokaw 2. The Ascendance of the Imprint in China--Joseph McDermott PART II: COMMERCIAL PUBLISHING AND THE EXPANDING MARKET FOR BOOKS 3. Of Three Mountains Street: The Commercial Publishers of Ming Nanjing--Lucille Chia 4. Constructing New Reading Publics in Late Ming China--Anne E. McLaren 5. Reading the Best-Sellers of the Nineteenth Century: Commercial Publications from Sibao--Cynthia J. Brokaw PART III: PUBLISHING FOR SPECIALIZED AUDIENCES 6. Niche Marketing for Late Imperial Chinese Fiction--Robert E. Hegel 7. Printing as Performance: Literati Playwright-Publishers of the Late Ming--Katherine Carlitz 8. Qing Publishing in Non-Han Languages--Evelyn S. Rawski 9. "Preserving the Bonds of Kin": Genealogy Masters and Genealogy Production in the Jiangsu-Zhejiang Area in the Qing and Republican Periods--Xu Xiaoman PART IV: THE BOOK AS A VISUAL MEDIUM 10. Visual Hermeneutics and the Act of Turning the Leaf: A Genealogy of Liu Yuan's Lingyan ge--Anne Burkus-Chasson 11. Didactic Illustrations in Printed Books: Choice and Consequence--Julia K. Murray Glossary Works Cited Contributors.
  • (source: Nielsen Book Data)9780520231269 20160528
Despite the importance of books and the written word in Chinese society, the history of the book in China is a topic that has been little explored. This pioneering volume of essays, written by historians, art historians, and literary scholars, introduces the major issues in the social and cultural history of the book in late imperial China. Informed by many insights from the rich literature on the history of the Western book, these essays investigate the relationship between the manuscript and print culture; the emergence of urban and rural publishing centers; the expanding audience for books; the development of niche markets and specialized publishing of fiction, drama, non-Han texts, and genealogies; and more.
(source: Nielsen Book Data)9780520231269 20160528
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
[4], 297 p. : ill. ; 21 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
230, [121] leaves : ill. ; 29 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01

19. Chen Hongshou [2003]

Book
266 p. : ill. (some col.) ; 21 cm.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01
Book
3 v. : ill. (some col.) ; 38 cm.
  • v. [1]. Shang juan · Wen zi bian
  • v. [2]. Zhong juan · Cai tu bian
  • v. [3]. Xia juan · Hei bai tu bian.
  • v. [1]. 上卷 · 文字編
  • v. [2]. 中卷 · 彩圖編-- v. [3]. 下卷 · 黑白圖編.
Art & Architecture Library (Bowes)
ARTHIST-280B/480B-01