A thorough and stunning look at The MacLean Collection Asian Art Museum, which consists of more than five thousand objects, from Neolithic times to the present, focused in three media--pottery, bronze, and stone from primarily China and Southeast Asia. A selection of Chinese pottery from the MacLean Collection of Asian art, dating from the Neolithic period (ca. 10, 000-2000 BCE) to the Tang dynasty (618-906), providing insights into the material culture, belief systems, and social development of early to medieval China. Nowhere in the world has such a rich, distinguished, and continuous tradition of pottery production developed as in China. From the Neolithic period (ca. 10, 000-2000 BCE) to the Tang dynasty (618-906), the art of Chinese pottery making has developed as much in response to functional and aesthetic considerations as to technological improvement. The forty-eight objects selected from the MacLean Collection Asian Art Museum represent some of the most important stages of this unparallel tradition when the forms, the artistic styles, and the techniques of pottery making emerged, improved, and sophisticated. They also provide insights into the material culture, belief systems, and social development of early and medieval China. OFFICIAL MUSEUM COLLECTION: An inside look into the rare collection of Asian Art both achived pieces and those currently on display in the museum located in Chicago, Illinois PERFECT FOR ART LOVERS: With enthralling photography and it's sleek hardcover, this book makes an exquisite gift for museum and art lovers everywhere CURATED FOR YOU BY THE BEST: Authored by three of the finest doctors and curators of ancient, modern, and contemporary Chinese art and pottery
A thorough and stunning look at The MacLean Collection Asian Art Museum, which consists of more than five thousand objects, from Neolithic times to the present, focused in three media--pottery, bronze, and stone from primarily China and Southeast Asia. A selection of Chinese pottery from the MacLean Collection of Asian art, dating from the Neolithic period (ca. 10, 000-2000 BCE) to the Tang dynasty (618-906), providing insights into the material culture, belief systems, and social development of early to medieval China. Nowhere in the world has such a rich, distinguished, and continuous tradition of pottery production developed as in China. From the Neolithic period (ca. 10, 000-2000 BCE) to the Tang dynasty (618-906), the art of Chinese pottery making has developed as much in response to functional and aesthetic considerations as to technological improvement. The forty-eight objects selected from the MacLean Collection Asian Art Museum represent some of the most important stages of this unparallel tradition when the forms, the artistic styles, and the techniques of pottery making emerged, improved, and sophisticated. They also provide insights into the material culture, belief systems, and social development of early and medieval China. OFFICIAL MUSEUM COLLECTION: An inside look into the rare collection of Asian Art both achived pieces and those currently on display in the museum located in Chicago, Illinois PERFECT FOR ART LOVERS: With enthralling photography and it's sleek hardcover, this book makes an exquisite gift for museum and art lovers everywhere CURATED FOR YOU BY THE BEST: Authored by three of the finest doctors and curators of ancient, modern, and contemporary Chinese art and pottery
In the early twentieth century, traditional-style painting practice was profoundly affected by the rapid changes sweeping through Chinese society. As traditional-style painting was excluded from art educational system and expelled from governmental supports in the first two decades of the twentieth century, the art market became one of the most important institutions for artists to revitalize traditional constructs through their active involvement with modern practice. The art market was not only an economic and social force conducive to individual painter's publicity and celebrity, but also a cultural space formalizing collective judgments, meanings, and relationships, which in turn shaped the image of traditional Chinese painting in modern art history. This study of the marketing mechanism in early Republican Beijing presents an alternative to the visual approach that has largely dominated scholarship of Chinese art history. Through delving into the socio-economic dimension of painting production and consumption, this dissertation examines the formation and development of the art market in early twentieth-century Beijing and investigates the measurable impacts that the marketing mechanism exerted on traditional-style painting characterized with adherence to the ancient subject matters and styles. Moreover, taking the art market as a jumping-off point, this dissertation redress the oversimplified and stereotyped vision that underestimates painting styles in early Republican Beijing as a belated and conservative antithesis to the innovations exhibited in painting produced in southern China. It argues that the art market in early Republican Beijing was an institution embedded in specific social, historical, intellectual, and cultural contexts. The determining and formative roles that urban cultural elites played in shaping and directing the art market made it an irreplaceable agency for traditional-style painters to affirm Chinese cultural and national identity as the country was integrated into the modern world and to define a cultural China as the political authority eroded in the post-imperial era.
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