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What does it mean to say that some of the best Chinese contemporary art is made in America, by Americans? This book challenges the artificial and narrowly conceived definitions of Chinese art, revealing the great diversity of Chinese art and showing just how complex and uncertain the labels 'contemporary', 'Chinese', and 'American' have become.

The Erligang culture is best known for the remains of an immense walled city at Zhengzhou, a smaller site at Panlongcheng in Hubei, and a large-scale bronze industry of remarkable artistic and technological sophistication. This book deals with Erligang culture.

Offers a contribution to the study of the arts of East Asia. This book features the essays that address a range of subjects, building bridges in many directions, from early jades and bronzes through traditional painting and prints, to photography, cinema, and modern museum practice.

Presents a study of an important genre of Ming-dynasty Chinese painting in which landscapes are actually disguised portraits that celebrate an individual and his achievements, ambitions, and tastes in an open effort to win recognition, support, and social status.

Ranging in topic from premodern Buddhist, narrative, and ink painting in Japan and East Asia to modern and contemporary Japanese painting, prints, and popular visual images, this title includes essays containing research which draws attention to the works of Japanese art and their historical contexts and modern interpretations.

Provides an anthology and summation of the work of one of the world's leading historians of Chinese painting and calligraphy. This book gives a sweeping tour through the history of Chinese painting and calligraphy as it offers and revised views on a broad range of important subjects.

"In this beautifully illustrated book, eminent art historian John Rosenfield explores the life and art of the Japanese Buddhist monk Hozan Tankai (1629-1716). Through a close examination of sculptures, paintings, ritual implements, and primary documents, the book demonstrates how the Shingon prelate's artistic activities were central to his important place in the world of late-seventeenth-century Japanese Buddhism. At the same time, the book shows the richness of early modern Japanese Buddhist art, which has often been neglected and undervalued.Tankai was firmly committed to the spiritual disciplines of mountain Buddhism-seclusion, severe asceticism, meditation, and ritual. But in the 1680s, after being appointed head of a small, run-down temple on the slopes of Mount Ikoma, near Nara, he revealed that he was also a gifted artist and administrator. He embarked on an ambitious campaign of constructing temple halls and commissioning icons, and the Ikoma temple, soon renamed Haozanji, became a vibrant center of popular Buddhism, as it remains today. He was a remarkably productive artist, and by the end of his life more than 150 works were associated with him.A major reconsideration of a key artistic and religious figure, Preserving the Dharma brings much-needed attention to an overlooked period of Japanese Buddhist art"--

A beautifully illustrated study of the caves at Dunhuang, exploring how this important Buddhist site has been visualized from its creation to today Situated at the crossroads of the northern and southern routes of the ancient silk routes in western China, Dunhuang is one of the richest Buddhist sites in the world, with more than 500 richly decorated cave temples constructed between the fourth and fourteenth centuries. The sculptures, murals, portable paintings, and manuscripts found in the Mogao and Yulin Caves at Dunhuang represent every aspect of Buddhism. From its earliest construction to the present, this location has been visualized by many individuals, from the architects, builders, and artists who built the caves to twentieth-century explorers, photographers, and conservators, as well as contemporary artists. Visualizing Dunhuang: Seeing, Studying, and Conserving the Caves is a paperback edition of the ninth volume of the magnificent nine-volume hardback set, and examines how the Lo Archive, a vast collection of photographs taken in the 1940s of the Mogao and Yulin Caves, inspires a broad range of scholarship. Lavishly illustrated with selected Lo Archive and modern photographs, the essays address three main areas--Dunhuang as historical record, as site, and as art and art history. Leading experts across three continents examine a wealth of topics, including expeditionary photography and cave architecture, to demonstrate the intellectual richness of Dunhuang. Diverse as they are in their subjects and methodologies, the essays represent only a fraction of what can be researched about Dunhuang. The high concentration of caves at Mogao and Yulin and their exceptional contents chronicle centuries of artistic styles, shifts in Buddhist doctrine, and patterns of political and private patronage--providing an endless source of material for future work. Contributors include Neville Agnew, Dora Ching, Jun Hu, Annette Juliano, Richard Kent, Wei-Cheng Lin, Cary Liu, Maria Menshikova, Jerome Silbergeld, Roderick Whitfield, and Zhao Shengliang. Published in association with the Tang Center for East Asian Art, Princeton University