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A sweeping look at Chinese art across the millennia that upends traditional perspectives and offers new pathways for art historyThroughout Chinese history, dynastic time—the organization of history through the lens of successive dynasties—has been the dominant mode of narrating the story of Chinese art, even though there has been little examination of this concept in discourse and practice until now. Chinese Art and Dynastic Time uncovers how the development of Chinese art was described in its original cultural, sociopolitical, and artistic contexts, and how these narratives were interwoven with contemporaneous artistic creation. In doing so, leading art historian Wu Hung opens up new pathways for the consideration of not only Chinese art, but also the whole of art history.Wu Hung brings together ten case studies, ranging from the third millennium BCE to the early twentieth century CE, and spanning ritual and religious art, painting, sculpture, the built environment, and popular art in order to examine the deep-rooted patterns in the historical conceptualization of Chinese art. Elucidating the changing notions of dynastic time in various contexts, he also challenges the preoccupation with this concept as the default mode in art historical writing. This critical investigation of dynastic time thus constitutes an essential foundation to pursue new narrative and interpretative frameworks in thinking about art history.Remarkable for the sweep and scope of its arguments and lucid style, Chinese Art and Dynastic Time probes the roots of the collective imagination in Chinese art and frees us from long-held perspectives on how this art should be understood.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

Al capezzale di un vecchio cantore funebre si ricompone tessera dopo tessera il mosaico della Storia e delle leggende della Cina rurale; la memoria del morente, che per tutta la vita ha cantato per i defunti, si riaccende così sulle bizzarre vicende dei vivi. Il vecchio ha assistito all'alba e al tramonto del XX secolo dai monti remoti del Qinling, nel microcosmo contadino dei villaggi, tra la rivoluzione comunista, quella culturale di Mao, la riforma agraria e il convulso sviluppo economico. Nel racconto le trasformazioni della società si mescolano al sapere antico del Libro dei monti e dei mari, un classico di quattromila anni fa, popolato di creature fantastiche, divinità mitologiche, piante e pietre straordinarie. Attraverso la voce del cantore disilluso, uno dei massimi scrittori cinesi contemporanei narra la mutevole e ambigua natura dell'uomo – che ciclicamente, una volta al potere, finisce per opprimere gli altri –, e l'inconsistenza di ogni promessa di cambiamento. Un romanzo che vibra come un'eterna, infinita melodia dell'esistenza.

A work of history, but also about art and architecture, trade and commerce, travel and exploration, economics and politics, this is above all a book about people and how, over the millennia, they have managed to live closely together. From the origins of urbanization in Mesopotamia to the global metropolises of today, great cities have marked the development of humankind Babylon and Nineveh, Athens and Rome, Istanbul and Venice, Timbuktu and Samarkand, their very names are redolent both of history and romance. The Great Cities in History tells their story from early Uruk and Thebes to Jerusalem and Alexandria. Then the fabulous cities of the first millennium: Damascus and Baghdad in the days of the Caliphates, Teotihuacan and Maya Tikal in Central America, and Changan, capital of Tang Dynasty China. The medieval world saw the rise of powerful cities: Palermo and Paris in Europe, Benin in Africa and Angkor of the Khmer. In the early modern world, we journey to Islamic Isfahan and Agra, and Prague and Amsterdam in their heyday, before arriving at the phenomenon of the contemporary mega-city: London and New York, Tokyo and Barcelona, Los Angeles and São Paulo. A galaxy of more than fifty distinguished authors, including Jan Morris, Colin Thubron, Simon Schama, Orlando Figes, Felipe Fernandez-Armesto, Misha Glenny, Adam Zamoyski and A. N. Wilson, evoke the character of each place and explain the reasons for its success, seeing what each city would have been like during its golden age.

Selected, peer reviewed papers from the Chinese Materials Conference 2015, July 10-14, 2015, Guiyang, China

Selected, peer reviewed papers from the 2012 China Functional Materials Technology and Industry Forum (CFMTIF 2012), November 9-12, 2012, Kunming, China

Selected papers from the 2nd International Conference on Advanced Design and Manufacturing Engineering (ADME 2012), August 16-18, 2012, Taiyuan, China

Selected, peer reviewed papers from the 2nd International Conference on Chemical Engineering and Advanced Materials (CEAM 2012), July 13-15, 2012, Guangzhou, China

Selected, peer reviewed papers from the 2nd International Conference on Advanced Engineering Materials and Technology (AEMT 2012), July 6-8, 2012, Zhuhai, China

Il mondo dello scrittore praghese affiora come una autobiografia dal vivo: Praga, la solitudine e gli adorati gatti, la fine del comunismo, tra birra, arte e filosofia.

Selected, peer reviewed papers from the 2012 2nd International Conference on Mechanical Engineering, Industry and Manufacturing Engineering (MEIME 2012), June 23-24, 2012, Hefei, China

Selected, peer reviewed papers from the 2012 International Conference on Computer-Aided Material and Engineering 2012 (ICCME 2012), March 17-18, 2012, Hangzhou, China

Selected, peer reviewed papers from the 2012 International Conference on Function Materials and Nanotechnology (FMN 2012), May 19-20, 2012, Zhengzhou, China

Selected, peer reviewed papers from the 2011 7th International Conference on MEMS, NANO and Smart Systems (ICMENS 2011), November 4-6, 2011, Kuala Lumpur, Malaysia

Selected, peer reviewed papers from the 2011 International Conference on Materials and Products Manufacturing Technology, (ICMPMT 2011), 28-30 October, 2011, Chengdu, China

Selected, peer reviewed papers from the 2011 International Conference on Chemical Engineering and Advanced Materials, (CEAM 2011), 28-30 May, 2011

GADEST 2011Selected, peer reviewed papers from the XIVth International Biannual Meeting on Gettering and Defect Engineering in Semiconductor (GADEST 2011), September 25-30, 2011, Loipersdorf, Austria

Selected, peer reviewed papers from the the Sixth China International Conference on High-Performance Ceramics (CICC-6), Harbin, China, August 16 ~ 19, 2009

Arising from the lyrical resonance between poets and painters, Chinese tihuashi (literature, specifically poetry, written about painting) engages painting in various ways, representing (or re-creating) painterly scenes, appraising the painter'artistry (or personality), or expressing poetic sentiment inspired by paintings. As an interartistic genre associated with almost all genres of painting, tihuashi enriches discourses in Chinese art criticism, art history, and art connoisseurship by addressing many aspects of painting. Through its congenial dialogue with painting, tihuashi has helped nurture a sisterly rapport between Chinese poetry and painting, facilitated a lyrical resonance between the two arts, and ultimately contributed to a total art integrating poetry, painting, calligraphy, and seal engraving. Along with the painterly genres of tishihua (painting inscribed with poems) and shiyitu (painting rendering the ideas or themes of poems), tihuashi has fostered a heightened awareness among Chinese artists of the mutually inspiring and mutually enhancing power of poetry and painting, setting a fashion for these two arts to achieve ideational as well as formal unity. By virtue of its historical contributions to both arts and its influence on Chinese artists, tihuashi should be studied and appreciated not merely within its own genre but rather in the larger, holistic context of the Chinese interartistic tradition. It is in this context that this book examines the various historical and sociocultural factors contributing to the formation and flourishing of this genre, while also exploring its theoretical underpinnings as well as underlying cultural values. An essential component of literati art, tihuashi embodies the holistic values peculiar to traditional Chinese aesthetics, in which interartistic mutuality and unity are of central significance. It provides a unique vantage point whereby the poetry-painting relationship can be examined in terms of its multi-faceted significance. As an interartistic subject tihuashi proves indispensable for researches on Chinese poetry and painting. Adopting painting as its subject or subject matter, tihuashi also explores individual Chinese paintings in terms of their provenance or brush work techniques. Some poems from this genre may be used as frames of reference for verifying the authenticity of some existing paintings or provide valuable clues to some lost paintings whose original format and content remain undetermined. An intimate knowledge of this genre also helps cultivate refined sensibilities and connoisseurship in Chinese art. This book is the first book-length study in English that addresses the subject of Chinese tihuashi exclusively through inquiries of historical and critical synthesis. Shedding interartistic and cross-cultural light on this genre, it is a concise pioneering study intended to provoke further research on tihuashi and also pave the way for a study of its comparability with ekphrastic poetry. Included in this book are the relevant Chinese texts, which will enhance the reader's appreciation of the Chinese poetry-painting relationship in the holistic context of Chinese culture, while also developing holistic and comparative perspectives on literature and art in general. This is an important book for all Chinese art, Chinese literature, and East Asian collections. It can be used as a reference book for both scholarly research and college-level teaching.

Here is a convincing reflection that changes our understanding of gender in Maoist culture, esp. for what critics from the 1990s onwards have termed its ‘erasure'of gender and sexuality. In particular the strong heroines of the yangbanxi, or ‘model works'which dominated the Cultural Revolution period, have been seen as genderless revolutionaries whose images were damaging to women. Drawing on contemporary theories ranging from literary and cultural studies to sociology, this book challenges that established view through detailed semiotic analysis of theatrical systems of the yangbanxi including costume, props, kinesics, and various audio and linguistic systems. Acknowledging the complex interplay of traditional, modern, Chinese and foreign gender ideologies as manifest in the'model works', it fundamentally changes our insights into gender in Maoist culture.

Selected, peer reviewed papers the Fifth China International Conference on High-Performance Ceramics (CICC-5), Changsha, China, May 10 ~ 13, 2007

GADEST 2003Proceedings of the 10th International Autumn Meeting on Gettering anf Defect Engineering in Semiconductor Technology, September 21-26, 2003, Brandenburg, Germany

GADEST'99Proceedings of GADEST 99