tseng lillian lan ying (24 risultati)

Paperback. Condizione: 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. Condizione: Very Good. Condizione sovraccoperta: Very Good. First Edition. Metropolitan Museum of Art, 2017; stated First Printing; xv, 252pp. Binding is tight, sturdy, and square; blue cloth boards in VG condition, corners sharp, gilt titling remains bright and bold; photos, illustrations and text also very good. Unclipped dust jacket in VG condition, arrives wrapped in protective mylar. Not available for domestic priority/expedited shipping. Ships from Dinkytown in Minneapolis, Minnesota.

Paperback. Condizione: 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. Condizione: 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.

Hardcover. Condizione: Fine. Condizione sovraccoperta: Fine. 1st. Cloth, xv, 252 pages, illustrations, maps; 32 cm. Catalogue of an exhibition held April 3 to July 16, 2017 at the Metropolitan Museum of Art. Firm binding, clean inside copy. Dust jacket protected in a mylar cover. OVERSIZE! Additional shipping charges may be requested for international & priority orders. A massive coffee-table book. Richly illustrated with colour plates. *** "Age of Empires presents the art and culture of China during one of the most critical periods of its history - the four centuries from 221 B.C. to A.D. 200-- when, for the first time, people of diverse backgrounds were brought together under centralized imperial rule that fostered a new and unified identity. The Qin and Han empires represent the 'classical' era of Chinese civilization, coinciding in both importance and timing with the Greco-Roman period in the West. Under the short-lived Qin and centuries-long Han, warring principalities were united under a common emperor, creating not only political and intellectual institutions but also the foundation for a Chinese art, culture, and national identity that lasted over two millennia. Over 150 works from across the full breadth of Chinese artistic and decorative media-- including ceramics, metalwork, textiles, armor, sculpture, and jewelry - are featured in this book and attest to the unprecedented role of art in ancient Chinese culture. These stunning objects, among them soldiers from the renowned terracotta army of Qin Shihuang, China's first emperor, are drawn from institutions and collections in China and appear here together for the first time." - Publisher. *** CONTENTS: The Making of China: The Establishment of a Lasting Political Paradigm and Cultural Identity During the Qin and Han Dynasties, by Zhixin Jason Sun; Qin and Han Political Institutions and Administration, by Robin D. S. Yates; Military Armaments of the Qin and Han, by Yang Hong; The Qin and Han Imperial City: Modeling and Visualizing Architecture, by Cary Y. Liu; The Ingenuity of Qin-Han Craftsmanship, by Pengliang Lu; Popular Beliefs in the Qin and Han Dynasties, by Lillian Lan-ying Tseng; Qin-Han China and the Outside World, by I-tien Hsing; Catalogue. The Qin Dynasty: Birth of a Unified China; The Han Dynasty: The Consolidation of Empire; The Han Dynasty: One Nation, Many Cultures. Size: Folio. Collectible.

Condizione: As New. Unread book in perfect condition.

Hardback. Condizione: New. 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.

Hardcover. Condizione: new. Hardcover. 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. Tian, or Heaven, had been used in China since the Western Zhou to indicate both the sky and the highest god. Examining excavated materials, Lillian Tseng shows how Han-dynasty artisans transformed various notions of Heavenas the mandate, the fantasy, and the skyinto pictorial entities, not by what they looked at, but by what they looked into. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condizione: New.

Condizione: new.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. 446 pages, many colour and b/w illustrations.

Condizione: New. 2011. Hardcover. . . . . .

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Paperback. Condizione: 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.

Hardback. Condizione: New. New copy - Usually dispatched within 4 working days.

Condizione: New. 2011. Hardcover. . . . . . Books ship from the US and Ireland.

Condizione: New. pp. 383 Illus.

Hardcover. Condizione: Brand New. 500 pages. 10.00x6.89x0.59 inches. In Stock.

Paperback. Condizione: 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.

Hardback. Condizione: New. 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.

Hardcover. Condizione: Brand New. 252 pages. 12.50x10.00x1.00 inches. In Stock.

Hardcover. Condizione: new. Hardcover. 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. Tian, or Heaven, had been used in China since the Western Zhou to indicate both the sky and the highest god. Examining excavated materials, Lillian Tseng shows how Han-dynasty artisans transformed various notions of Heavenas the mandate, the fantasy, and the skyinto pictorial entities, not by what they looked at, but by what they looked into. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Condizione: Good. 4to. [268 pp.]. Hard Covers. Very Good+. Dust Jacket Very Good. Pages fine. Includes 290 color illustrations, index, maps, bibliography. The first in-depth exploration of the artistic and cultural achievements of China's classical era, Age of Empires presents the art and culture of China during one of the most critical periods of its history - the four centuries from 221 B.C. to A.D. 200-- when, for the first time, people of diverse backgrounds were brought together under centralized imperial rule that fostered a new and unified identity. The Qin and Han empires represent the classical era of Chinese civilization, coinciding in both importance and timing with the Greco-Roman period in the West. Under the short-lived Qin and centuries-long Han, warring principalities were united under a common emperor, creating not only political and intellectual institutions but also the foundation for a Chinese art, culture, and national identity that lasted over two millennia. Over 150 works from across the full breadth of Chinese artistic and decorative media-- including ceramics, metalwork, textiles, armor, sculpture, and jewelry - are featured in this book and attest to the unprecedented role of art in ancient Chinese culture. These stunning objects, among them soldiers from the renowned terracotta army of Qin Shihuang, China s first emperor, are drawn from institutions and collections in China and appear here together for the first time. Essays by leading scholars, accompanied by dazzling new photography of the objects, address the sweeping societal changes underway, and trace a progression from the early, formative years through unprecedented sophistication and technical accomplishment.