bai qianshen (52 resultados)

Condición: Very Good. Minimal wear to cover. Pages clean and binding tight. shelf wear. bumped edges. Paperback.

Paperback. Condición: As New. Illustrated paper covers with french flaps; light shelf wear; 4to - over 9 3/4" to 12" tall; Interior is clean and unmarked; 383 pages. Additional shipping charges may be required.

hardcover. Condición: Very Good. Open Books is a nonprofit social venture that provides literacy experiences for thousands of readers each year through inspiring programs and creative capitalization of books.

Condición: very_good.

Trade Paperback. Condición: Fine. 1st Edition. Book.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Very Good. Hardbound in dust jacket.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Near Fine Plus. First Edition. hardcover in dust jacket., short edge-tear to second front free endpaper. no other flaws, clean, tightly bound, no writing or markings.; 338pp., xxiipp. preliminaries., 162 illustrations, 1 map.; detailed work on 17th century chinese master calligrapher, fu shan.; harvard east asian monograph 220. Size: 4to - over 9¾" - 12" tall.

Condición: Very Good. Very Good condition. (Chinese Calligraphy, Freer Gallery of Art, Exhibition Catalog) A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Near Fine. Very Good condition hardcover book, Near Fine dust jacket. Very slight shelf wear and slightest smudging to covers. Very slight toning and smudging to text block edges, mainly bottom edge. Dust jacket unclipped. Dust jacket has very slight shelf wear and bumping to edges. Dust jacket protected by mylar. All of our books are individually inspected and described. Never X-library unless specifically described as such.

Hardcover. Condición: VG. Estado de la sobrecubierta: VG. Light general wear, but a nice copy with bright, clean interior pages and solid binding. DJ in very nice condition. Book is over-sized and additional postage needed to ship outside the United States. ; Folio 13" - 23" tall; 224 pages; Art OS.

Paperback. Condición: VG+. 1st Edition. Paperback in Very Good+ condition. 4to 11" - 13" tall. 104 pages. Quick shipping, excellent customer service. All books carefully packaged in boxes and ship with tracking information.

Hard. Condición: Fine. Estado de la sobrecubierta: Fine. 1st. First edition. Hard cover in dust jacket. Published NY: Abrams, 1999, first printing. Folio, 9 1/2" x 12 1/8", xx+449pp., 487 illustrations, including 35 plates in full color and 79 plates in duotone. Black cloth with red spine titles, cover embossed Chinese character, decorative end papers. Fine in fine dust jacket.

hardcover. Condición: New. Brand New! Still in factory shrink wrap. Satisfaction Guaranteed. We ship daily. Expedited shipping available.

Condición: New.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condición: New. The "Wu Family Shrines" pictorial carvings from Han dynasty China (206 BCE-220 CE) are among the earliest works of Chinese art examined in an international arena. Since the eleventh century, the carvings have been identified by scholars as one of the most valuable and authentic materials for the study of antiquity. This important book presents essays by archaeologists, art and architectural historians, curators, and historians that reexamine the carvings, adding to our understanding of the long cultural history behind them and to our knowledge of Han practices. The authors offer a thorough analysis of surviving physical and visual sources, invoking fresh perspectives from new disciplines.  Essays address the ideals, practices, and problems of the "Wu Family Shrines" and Han China; Han funerary art and architecture in Shandong and other regions; architectural functions and carved meanings; Qing Dynasty Reception of the Wu Family Shrines; and more.Distributed for the Princeton University Art Museum.

Hardcover. Condición: Near Fine. Estado de la sobrecubierta: Very Good. 29 cm x 23 cm, 203 pp. Small creasing to the front of the dust jacket.

Hard cover. Condición: Very good. No jacket. Cloth. Quarto, 338 pages, illustrated. Bottom edge of spine is lightly bumped and spine is shaken, but binding is secure. Inside is clean and unmarked.

Paperback. Condición: New. The "Wu Family Shrines" pictorial carvings from Han dynasty China (206 BCE-220 CE) are among the earliest works of Chinese art examined in an international arena. Since the eleventh century, the carvings have been identified by scholars as one of the most valuable and authentic materials for the study of antiquity. This important book presents essays by archaeologists, art and architectural historians, curators, and historians that reexamine the carvings, adding to our understanding of the long cultural history behind them and to our knowledge of Han practices. The authors offer a thorough analysis of surviving physical and visual sources, invoking fresh perspectives from new disciplines.  Essays address the ideals, practices, and problems of the "Wu Family Shrines" and Han China; Han funerary art and architecture in Shandong and other regions; architectural functions and carved meanings; Qing Dynasty Reception of the Wu Family Shrines; and more.Distributed for the Princeton University Art Museum.

Hardcover. Condición: new. New Copy. Customer Service Guaranteed.

Hardback. Condición: New. For 1,300 years, Chinese calligraphy was based on the elegant art of Wang Xizhi (A.D. 303-361). But the seventeenth-century emergence of a style modeled on the rough, broken epigraphs of ancient bronzes and stone artifacts brought a revolution in calligraphic taste. By the eighteenth century, this led to the formation of the stele school of calligraphy, which continues to shape Chinese calligraphy today.A dominant force in this school was the eminent calligrapher and art theorist Fu Shan (1607-1685). Because his work spans the late Ming-early Qing divide, it is an ideal prism through which to view the transformation in calligraphy.Rather than seek a single explanation for the change in calligraphic taste, the author demonstrates and analyzes the heterogeneity of the cultural, social, and political processes behind it. Among other subjects, the book covers the late Ming interaction between high and low culture; the role of publishing; the Ming loyalist response to the Qing; and early Qing changes in intellectual discourse. In addition to the usual approach of art historians, it adopts the theoretical perspectives of such fields as material culture, print culture, and social and intellectual history.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: New. Estado de la sobrecubierta: New. New hardcover with brown cloth over boards with silver lettering to spine in a new dust jacket. 8vo (7 x 1.3 x 9.9 inches) Vividly illustrated. Index. 472pp. Fast shipping in a secure book box mailer. China has an age-old zoomorphic tradition. The First Emperor was famously said to have had the heart of a tiger and a wolf. The names of foreign tribes were traditionally written with characters that included animal radicals. In modern times, the communist government frequently referred to Nationalists as "running dogs," and President Xi Jinping, vowing to quell corruption at all levels, pledged to capture both "the tigers" and "the flies." Splendidly illustrated with works ranging from Bronze Age vessels to twentieth-century conceptual pieces, this volume is a wide-ranging look at zoomorphic and anthropomorphic imagery in Chinese art. The contributors, leading scholars in Chinese art history and related fields, consider depictions of animals not as simple, one-for-one symbolic equivalents: they pursue in depth, in complexity, and in multiple dimensions the ways that Chinese have used animals from earliest times to the present day to represent and rhetorically stage complex ideas about the world around them, examining what this means about China, past and present. In each chapter, a specific example or theme based on real or mythic creatures is derived from religious, political, or other sources, providing the detailed and learned examination needed to understand the means by which such imagery was embedded in Chinese cultural life. Bronze Age taotie motifs, calendrical animals, zoomorphic modes in Tantric Buddhist art, Song dragons and their painters, animal rebuses, Heaven-sent auspicious horses and foreign-sent tribute giraffes, the fantastic specimens depicted in the Qing Manual of Sea Oddities, the weirdly indeterminate creatures found in the contemporary art of Huang Yong Ping--these and other notable examples reveal Chinese attitudes over time toward the animal realm, explore Chinese psychology and patterns of imagination, and explain some of the critical means and motives of Chinese visual culture. The Zoomorphic Imagination in Chinese Art and Culture will find a ready audience among East Asian art and visual culture specialists and those with an interest in literary or visual rhetoric. Contributors: Sarah Allan, Qianshen Bai, Susan Bush, Daniel Greenberg, Carmelita (Carma) Hinton, Judy Chungwa Ho, Kristina Kleutghen, Kathlyn Liscomb, Jennifer Purtle, Jerome Silbergeld, Henrik Sørensen, and Eugene Y. Wang. .

Hardcover. Condición: new. Hardcover. For 1,300 years, Chinese calligraphy was based on the elegant art of Wang Xizhi (A.D. 303-361). But the seventeenth-century emergence of a style modeled on the rough, broken epigraphs of ancient bronzes and stone artifacts brought a revolution in calligraphic taste. By the eighteenth century, this led to the formation of the stele school of calligraphy, which continues to shape Chinese calligraphy today.A dominant force in this school was the eminent calligrapher and art theorist Fu Shan (1607-1685). Because his work spans the late Ming-early Qing divide, it is an ideal prism through which to view the transformation in calligraphy. Rather than seek a single explanation for the change in calligraphic taste, the author demonstrates and analyzes the heterogeneity of the cultural, social, and political processes behind it. Among other subjects, the book covers the late Ming interaction between high and low culture; the role of publishing; the Ming loyalist response to the Qing; and early Qing changes in intellectual discourse. In addition to the usual approach of art historians, it adopts the theoretical perspectives of such fields as material culture, print culture, and social and intellectual history. For 1,300 years, Chinese calligraphy was based on the elegant art of Wang Xizhi (A.D. 303-361). But the emergence in the 17th century of a style modeled on the rough, broken epigraphs of ancient artifacts led to the formation of the stele school. Eminent calligrapher and art theorist Fu Shan (1607-1685) was a dominant force in this school. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condición: new.

Hardcover. Condición: Good. No Jacket. xxii, 338 pages : facsimiles. Series: Harvard East Asian monographs ; 220. Publisher's binding sturdy, corners sharp; mild curl to front panel; front inner hinge tender, presentation inscription from author at upper fore-corner of front panel, contents fine. Lacks dust jacket. 1180 grams.

Condición: New. A dominant force in the stele school of caligraphy was the eminent calligrapher and art theorist Fu Shan (1607-1685). Because his work spans the late Ming-early Qing divide, the author of this work examines his influence as an ideal prism through which to view the transformation in calligraphy. Series: Harvard East Asian Monographs. Num Pages: 400 pages, 161 illustrations. BIC Classification: 1FPC; 3JD; WFU. Category: (P) Professional & Vocational. Dimension: 286 x 225 x 32. Weight in Grams: 1186. . 2003. Hardback. . . . .

Condición: New.

Condición: As New. Unread book in perfect condition.