Framing Famous Mountains

"Treating landscape painting as yet another framing systems, in both the symbolic and material sense, this book examines sixteenth-century paintings of famous mountains by three major artists in the light of a diachronic account of the evolution of famous mountains over time and a synchronic account of the vogue for the grand tour in late Ming society." --Book Jacket.

A team of renowned scholars examines how sacred art and artefacts responded to the demands of a world stage in the age of reform, demonstrating the significance of religious systems for a global art history.

This book sheds light on the structure of “a unity with diversity” developed in the Qing imperial formation (1636–1912) by a case study of the Qing-Tibetan encounters in the eighteenth century. By analyzing historical and ethnographical materials, the book investigates the translation of Chinese histories and stone inscriptions into Tibetan, the transformation of the landscapes at Mount Wutai and Lhasa, and the transplantation of Chinese deities and medical practices to Tibet. It demonstrates the processes in which the cosmopolitan interlocutors reified imperial integrity while expressing their diverse longings and belongings. It concludes that the Qing’s rule over its cultural others was neither simply Sinicizing nor colonizing, but a translational process in which multivocalic actors shared narratives, landscapes, and practices, while the emperor and tantric masters performed cosmic power over humans and metahumans. This book cuts across the fields of anthropology, history, Chinese Studies, and Tibetan Studies. It reflects on the concepts of sovereignty and ethnicity, and it also extends the methodological horizon of historical anthropology.

A groundbreaking book that describes a distinctively Chinese avant-gardism and a modernity that unifies art, politics, and social life. To the extent that Chinese contemporary art has become a global phenomenon, it is largely through the groundbreaking exhibitions curated by Gao Minglu: "China/Avant-Garde" (Beijing, 1989), "Inside Out: New Chinese Art" (Asia Society, New York, 1998), and "The Wall: Reshaping Contemporary Chinese Art" (Albright-Knox Art Gallery, 2005) among them. As the first Chinese writer to articulate a distinctively Chinese avant-gardism and modernity—one not defined by Western chronology or formalism—Gao Minglu is largely responsible for the visibility of Chinese art in the global art scene today. Contemporary Chinese artists tend to navigate between extremes, either embracing or rejecting a rich classical tradition. Indeed, for Chinese artists, the term "modernity" refers not to a new epoch or aesthetic but to a new nation—modernityinextricably connects politics to art. It is this notion of "total modernity" that forms the foundation of the Chinese avant-garde aesthetic, and of this book. Gao examines the many ways Chinese artists engaged with this intrinsic total modernity, including the '85 Movement, political pop, cynical realism, apartment art, maximalism, and the museum age, encompassing the emergenceof local art museums and organizations as well as such major events as the Shanghai Biennial. He describes the inner logic of the Chinese context while locating the art within the framework of a worldwide avant-garde. He vividly describes the Chinese avant-garde's embrace of a modernity that unifies politics, aesthetics, and social life, blurring the boundaries between abstraction, conception, and representation. Lavishly illustrated with color images throughout, this book will be a touchstone for all considerations of Chinese contemporary art.

When Jo Ann Pierce began her career in education, immersion in the classroom experience seemed like enough of a challenge—balancing the demands of family life as a wife and mother with the steep learning curve of mentoring and nurturing students was as much as she thought she could handle. But as she learned to trust her goat-like sense of balance on uneven terrain, she realized she could see a summit above her, and that it was within reach. Could she trust that God had a special plan to help her discover her gifts of leadership? Bit by bit, her vision emerged; this powerful memoir shares her upward climb as a “wannabe” principal, with successes and failures, personal notes and memories. Deeply personal yet universal not only to teachers and principals, but all leaders, this book illuminates the heart of Dr. Pierce’s quest to find her best self, for the service and benefit of others. Let her inspire you to recognize the mountain of love in your own life—and take courage from her journey to climb upward to your pinnacle.

Chinese cinema has a long history of engagement with China’s art traditions, and literati (wenren) landscape painting has been an enduring source of inspiration. Literati Lenses explores this interplay during the Mao era, a time when cinema, at the forefront of ideological campaigns and purges, was held to strict political guidelines. Through four films—Li Shizhen (1956), Stage Sisters (1964), Early Spring in February (1963), and Legend of Tianyun Mountain (1979)—Mia Liu reveals how landscape offered an alternative text that could operate beyond political constraints and provide a portal for smuggling interesting discourses into the film. While allusions to pictorial traditions associated with a bygone era inevitably took on different meanings in the context of Mao-era cinema, cinematic engagement with literati landscape endowed films with creative and critical space as well as political poignancy. Liu not only identifies how the conventions and aesthetics of traditional literati landscape art were reinvented and mediated on multiple levels in cinema, but also explores how post-1949 Chinese filmmakers configured themselves as modern intellectuals in the spaces forged among the vestiges of the old. In the process, she deepens her analysis, suggesting that landscape be seen as an allegory of human life, a mirror of the age, and a commentary on national affairs.

China has been one of the first countries to develop its own aesthetic for dynamic images and to create animation films with distinctive characteristics. In recent years, however, and subject to the influence of Western and Japanese animation, the Chinese animation industry has experienced several new stages of development, prompting the question as to where animation in China is heading in the future. This book describes the history, present and future of China’s animation industry. The author divides the business’s 95-year history into six periods and analyses each of these from an historical, aesthetic, and artistic perspective. In addition, the book focuses on representative works, themes, directions, artistic styles, techniques, industrial development, government support policies, business models, the nurturing of education and talent, broadcasting systems, and animation. Scholars and students who are interested in the history of Chinese animation will benefit from this book and it will appeal additionally to readers interested in Chinese film studies.