The Art Of Terrestrial Diagrams In Early China

A study of early Chinese maps using interdisciplinary methods. This is the first English-language monograph on the early history of maps in China, centering on those found in three tombs that date from the fourth to the second century BCE and constitute the entire known corpus of early Chinese maps (ditu). More than a millennium separates them from the next available map in the early twelfth century CE. Unlike extant studies that draw heavily from the history of cartography, this book offers an alternative perspective by mobilizing methods from art history, archaeology, material culture, religion, and philosophy. It examines the diversity of forms and functions in early Chinese ditu to argue that these pictures did not simply represent natural topography and built environments, but rather made and remade worlds for the living and the dead. Wang explores the multifaceted and multifunctional diagrammatic tradition of rendering space in early China.

Explores how sovereign space in early China was imagined and negotiated in the ancient world.

A chronological and interdisciplinary study of early China from the Neolithic through Warring States periods (ca 5000-500BCE).

Yang also introduces the new discovery of a previously unidentified medium that is located in the gray zone between writing and decoration, which he calls "pictorial inscriptions." Further, Yang discusses the sources, contexts, and correlation among the three media."--BOOK JACKET.

Tian, or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death. Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven—as the mandate, the fantasy, and the sky—into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked into. Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge. By examining Heaven as depicted in ritual buildings, on household utensils, and in the embellishments of funerary settings, Tseng maintains that visibility can hold up a mirror to visuality; Heaven was culturally constructed and should be culturally reconstructed.

The ascendancy of the Western Zhou in Bronze Age China, 1045–771 BC, was a critical period in the development of Chinese civilisation and culture. This book addresses the complex relationship between geography and political power in the context of the crisis and fall of the Western Zhou state. Drawing on the latest archaeological discoveries, the book shows how inscribed bronze vessels can be used to reveal changes in the political space of the period and explores literary and geographical evidence to produce a coherent understanding of the Bronze Age past. By taking an interdisciplinary approach which embraces archaeology, history and geography, the book thoroughly reinterprets late Western Zhou history and probes the causes of its gradual decline and eventual fall. Supported throughout by maps created from the GIS datasets and by numerous on-site photographs, Landscape and Power in Early China gives significant insights into this important Bronze Age society.

A leading scholar in the United States on Chinese archaeology challenges long-standing conceptions of the rise of political authority in ancient China. Questioning Marx's concept of an "Asiatic" mode of production, Wittfogel's "hydraulic hypothesis," and cultural-materialist theories on the importance of technology, K. C. Chang builds an impressive counterargument, one which ranges widely from recent archaeological discoveries to studies of mythology, ancient Chinese poetry, and the iconography of Shang food vessels.