Court Art Of The Tang

This text deals with Chinese art during the Tang Dynasty, from 618 to 907. It presents the artistic findings from the last ten years of archaeological excavation in China--findings that have never before been published in the West. Court Art of the Tang reveals the magnificence of Tang art through the presentation of ceramics, wall paintings, and utensils made of gold, silver, bronze, and porcelain. The book aims to place these new materials in their artistic and historical context. It structures the new findings in chronological order, using culture and history as a background. The study treats each class of art separately and distinctly, exploring the aesthetic evolution of both secular and religious art. Relevant literary expressions incorporated into the discussions make Court Art of the Tang an especially unique work. The book gives readers a comprehensive and diverse look at the glorious and extraordinary achievements of a ruling family. The book consists of 233 pages of text, a bibliography and an index, a glossary, and 117 illustrations. Court Art of the Tang will provide insightful reading for art collectors and museum-goers and serve as an important text in Asian Studies Departments and in courses in the arts of China.Contents: List of Illustrations; Preface; Ackowledgements; Introduction; Early Tang 618-712; Middle Tang 712-805; Late Tang 805-907; Conclusion; Illustrations; Glossary; Bibliography; Index.

The Tang dynasty (AD 618-907) is known as China's golden age, celebrated for its enlightened government, openness to outside influences, and varied and magnificent works of art. This beautifully-illustrated book brings together in one volume the dynasty's most important artistic accomplishments. A sketch of the era's political and social history is followed by chapters illustrating the development of ceramics, the production of gold and silver, Tang painting and sculpture, and religious and funerary art.

This volume covers Chinese art during the reign of the Sui and Tang Dynasties during which the various disciplines of plastic and performing arts all entered a stage of unprecedented prosperity and development. It also traces new explorations in calligraphy, painting, and mural art and highlights architectural achievements during the historic period. A General History of Chinese Art comprises six volumes with a total of nine parts spanning from the Prehistoric Era until the 3rd year of Xuantong during the Qing Dynasty (1911). The work provides a comprehensive compilation of in-depth studies of the development of art throughout the subsequent reign of Chinese dynasties and explores the emergence of a wide range of artistic categories such as but not limited to music, dance, acrobatics, singing, story telling, painting, calligraphy, sculpture, architecture, and crafts. Unlike previous reference books, A General History of Chinese Art offers a broader overview of the notion of Chinese art by asserting a more diverse and less material understanding of arts, as has often been the case in Western scholarship.

Murals have been found in different countries and nations since the beginning of human civilization, a period of nearly ten thousand years. Many beautiful murals dating from the ancient times in Egypt, Rome, Russia, and Babylon are still well preserved today. Their unique artistic charm still influences us. China is also known for her ancient murals, of which the famous Dunhuang Murals of the Tang Dynasty are most representative. They reflect the elements of politics, economy, culture, and religion of the glorious period of the Tang Dynasty. This album of murals of the Tang Dynasty is a collection of photographs of more than 200 representative murals of the Tang Dynasty preserved by our curator Yang’s family. They show flying Apsaras, heavenly music goddess, Buddha images, Bodhisattva, Arhat, Buddha’s warrior attendant, Buddhist sponsor worshipers of the court and nobility of the Tang Dynasty, Tang imperial family members and nobles hunting, and Tang imperials family members and nobles worshipping Buddha. These murals depict every aspect of the life of the court and nobility of the Tang Dynasty, covering politics, economy, culture, religion, and music of that period in Chinese history. The murals vividly show the expressions of the people, their headdresses, costumes, hand ornaments, their bodies, gestures, and animals. This series of Ancient Chinese Art will systematically show different categories of cultural relics from different historical periods in China, demonstrating the most beautiful artistic attainments of each dynasty. Readers will appreciate the soul of ancient Chinese art while reviewing these cultural relics directly and tranquilly. The beauty of ancient Chinese art transcends time, space, cultures, races, beliefs, etc.

The Western Han dynasty (202 BCE–9 CE) was a foundational period for the artistic culture of ancient China, a fact particularly visible in the era’s funerary art. Iconic forms of Chinese art such as dazzling suits of jade; cavernous, rock-cut mountain tombs; fancifully ornate wall paintings; and armies of miniature terracotta warriors were prepared for the tombs of the elite during this period. Many of the finest objects of the Western Han have been excavated from the tombs of kings, who administered local provinces on behalf of the emperors. Allison R. Miller paints a new picture of elite art production by revealing the contributions of the kings to Western Han artistic culture. She demonstrates that the kings were not mere imitators of the imperial court but rather innovators, employing local materials and workshops and experimenting with new techniques to challenge the artistic hegemony of the imperial house. Tombs and funerary art, Miller contends, functioned as an important vehicle of political expression as kings strove to persuade the population and other elites of their legitimacy. Through case studies of five genres of royal art, Miller argues that the political structure of the early Western Han, with the emperor as one ruler among peers, benefited artistic production and innovation. Kingly Splendor brings together close readings of funerary art and architecture with nuanced analyses of political and institutional dynamics to provide an interdisciplinary revisionist history of the early Western Han.

The capital of Tang China (618 - 907), Chang'an (present day Xi'an), was a hub for economic and cultural exchange. Nearby lies the Famen Temple, one of the most revered Buddhist sites in China. A finger bone relic of the Buddha and magnificent Tang dynasty objects of gold, silver, ceramics, and glass were sealed within an underground crypt there. For more than 1000 years, these treasures were forgotten until their chance discovery in 1987. Together with objects from other leading museums in Shaanxi, the exhibition covered by this text is a rare showcase of Tang aesthetics and culture for the first time in Southeast Asia. This catalogue accompanies an exhibition at the Asian Civilisations Museum of treasures from the Famen Temple crypt and other Tang dynasty artworks. Essays examine relic worship at the Famen Temple and the Buddhist world of the Tang, the rationale for the arrangement of donations in the crypt chambers, and the Tang dynasties contacts with the wider world. Figures and murals from tombs, magnificent reliquary boxes, rare ceramics, and gold and silver metalwork tell the story of life and culture during the Tang.

Handscroll;Light color on silk; 100cm(width)*22cm(height) Depicting a scene from the Tianbao period, this image shows the Tang Emperor Xuanzong's favored concubine Yang Yuhuan's sister, Lady of Guo State, and her attendants on a spring outing. The people and horses have little momentum, and it seems they are riding slowly. The details are realistic, and the brushstrokes are impressive. The horses' liveries and saddles and the people's clothes are all typical fashions of the golden age of the Tang Dynasty, depicting the life of leisure enjoyed by upper class women of that time.