Qianshen bai (57 resultados)

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: Good. Clean Pages. Proceeds benefit the Pima County Public Library system, which serves Tucson and southern Arizona. Slight edge wear and bumping.

Condición: Very Good. Very Good condition. Chinese. (calligraphy, chinese) 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.

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

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

Condición: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Hardcover. Condición: Near Fine. 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.…

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.

Condición: Very Good. Very Good condition. Chinese edition. 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.

Condición: Very Good. Very Good condition. Chinese. 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.

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. …

Condición: New.

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.…

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.…

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.

2003, 400pp, Gebonden met stofomslag, als nieuw. Please see description or ask for photos.

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. 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.…

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. .…

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

Condición: new.

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. . . . .…

Hard Cover. Condición: New. Estado de la sobrecubierta: New. First Edition. Subtitle : Paintings and Calligraphy by Bada Shanren. Bada Shanren, the enigmatic, eccentric monk-painter also known as Zu Da, created a wealth of beautiful and important paintings and calligraphy over the course of his life (1626-1705?). A princely descendent of the Ming dynasty (1368-1644) imperial house, Bada Shanren developed a distinctive, evolving individual style of painting that had a profound and lasting influence on other calligraphers. Two prominent collector-scholars, Wang Fangyu and Sum Wai, were devoted to the collection and study of Bada Shanren's oeuvre. Their gift to the Freer Gallery of Art of twenty superb works by Bada Shanren and an extensive research collection of around 1,900 items, together with a further purchase of thirteen works from their collection, have made the Freer the unrivaled center for the exhibition and study of Bada's art. In the spring of 2003, an exhibition of these works will be on display in the Freer Gallery of Art; this book accompanies the exhibition and will have a life well beyond it, as it documents an important part of the museum's permanent collection. Text in English, with glossary and detailed descriptions of exhibits in bilingual English/Chinese. 222 pp., 113 colour and 16 b&w plates, illustrations of 36 seals and 12 signatures of the artist, chronology, glossary, bibliography of Asian and Western sources, index.…

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. …

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

Condición: New.