In his previous life, a member of the dragon group had transcended the cycle of reincarnation. Carrying the memories of his past life, he had come to a different world and obtained a new identity: the son of King Jing Nan, Ling Feng! Fiendgod Body Refiner, Fiendgod Body Refiner, clan hatred, the battle for the Fiendgod continent, reaching the peak, the battle at the boundary ... [Author's Note: This book is a pure fiction. If there are similarities, it will definitely be pirated!] [Author's Tips for Friendship.]
In his previous life, a member of the dragon group had transcended the cycle of reincarnation. Carrying the memories of his past life, he had come to a different world and obtained a new identity: the son of King Jing Nan, Ling Feng! Fiendgod Body Refiner, Fiendgod Body Refiner, clan hatred, the battle for the Fiendgod continent, reaching the peak, the battle at the boundary ... [Author's Note: This book is a pure fiction. If there are similarities, it will definitely be pirated!] [Author's Tips for Friendship.]
The pursuit of antiquity was important for scholarly artists in constructing their knowledge of history and cultural identity in late imperial China. By examining versatile trends within paintings in modern China, this book questions the extent to which historical relics have been used to represent the ethnic identity of modern Chinese art. In doing so, this book asks: did the antiquarian movements ultimately serve as a deliberate tool for re-writing Chinese art history in modern China? In searching for the public meaning of inventive private collecting activity, Appropriating Antiquity in Modern Chinese Painting draws on various modes of artistic creation to address how the use of antiquities in early 20th-century Chinese art both produced and reinforced the imaginative links between ancient civilization and modern lives in the late Qing dynasty. Further exploring how these social and cultural transformations were related to the artistic exchanges happening at the time between China, Japan and the West, the book successfully analyses how modernity was translated and appropriated at the turn of the 20th century, throughout Asia and further afield.
Monks in Glaze is a complete reassessment of the famous group of large glazed ceramic sculptures known as the Yixian Luohans. Drawing upon hitherto-unknown epigraphic documents, Eileen Hsiang-ling Hsu proposes a new date (1511–1519) for the group’s production and, for the first time, identifies the kiln centre near Beijing as its birthplace. Removed more than one hundred years ago from a massive grotto in northern China, the group’s provenance disappeared after its dispersal between 1913 and 1933. Delving into the social and economic issues of religious patronage, imperial workshop practice, and nuanced style of post-Yuan Buddhist art, Hsu convincingly shows that such a large group of masterworks were products of well-developed commercial economy of the Ming dynasty.
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