The military elite had now become a gangster, and a special mission had allowed him to roam the underworld. Was it corruption or the Soaring Dragon Nine Heavens? The same story of the underworld, the same feeling of the underworld ... Faced with such a conspiracy, he wanted to see how the main character would slowly grow into a terrifying existence. On the shore of the Hornless Sea, on the peak of the mountain, there was no one. 2009 Classic underworld show for you! Reasonable YY. Take a look around when you are bored. If you like it, please collect it. If you don't like it, please give me some valuable advice!
This book tells the story of the Mount Songshan area architecture in simple terms, while also providing detailed information on the history of Buddhist architecture. The history of the Mount Songshan area can be traced back to the Xia Dynasty in the 23rd century B.C. The heritage architecture in this area has seen the rise and fall of various powers – including the Han Dynasty, Northern Wei Dynasty, Tang and Song Empires, Jin Dynasty, Yuan Dynasty, and the Ming and Qing Empires – and reflects the character of each historical period. Over the past 2,000 years, history has been continuously woven into the architecture. The Mount Songshan area is, therefore, a perfect representation of the perpetual Chinese civilization, and the most magnificent museum of ancient Chinese architecture. Most importantly, these various types of architecture offer valuable insights into the architectural design and technologies of each historical period. The products of ingenuity and innovation, they are marvellous creations that ancient Chinese people took great pride in.
Wei Shi’s well-crafted study weaves together historical context, ideological complexities, and insightful case studies on Confucian metaphysics, ethics, and politics. Engagingly written, it seamlessly bridges the gap between universal and nationalist (particular) perspectives, offering a rich tapestry of ideas and satisfying unity. Shi describes the profound impact of Confucian revival on China's cultural identity. She argues that Confucian ideas continue to shape China's trajectory in an ever-changing world. Specialists, graduate students, and enthusiasts will find this work an invaluable resource in understanding the multifaceted landscape of China’s Confucian revival in the twenty-first century.
This book is the first book on the history of Chinese traveling culture. It reviewed the history of Chinese traveling culture, and revealed the cultural significance of China's traveling phenomena and the underlying principles of its changing traveling culture.It has the following features: First, it divided the history of Chinese traveling culture into six periods to create a system to explain the phenomena and changes of traveling culture. Second, it emphasized the significance of travelers in traveling culture, and revealed the influence of zeitgeist on traveling culture. Third, it explained phenomena through investigations of the artifacts, institutions, behaviors and attitudes of traveling culture, and the dynamic interactions between the subjects, objects and media in traveling. Fourth, it expanded the theory of traveling by building upon extant ideas.Published by SCPG Publishing Corporation and distributed by World Scientific for all markets except China
In this book, David Der-wei Wang uses the lyrical to rethink the dynamics of Chinese modernity. Although the form may seem unusual for representing China's social and political crises in the mid-twentieth century, Wang contends that national cataclysm and mass movements intensified Chinese lyricism in extraordinary ways. Wang calls attention to the form's vigor and variety at an unlikely juncture in Chinese history and the precarious consequences it brought about: betrayal, self-abjuration, suicide, and silence. Despite their divergent backgrounds and commitments, the writers, artists, and intellectuals discussed in this book all took lyricism as a way to explore selfhood in relation to solidarity, the role of the artist in history, and the potential for poetry to illuminate crisis. They experimented with poetry, fiction, film, intellectual treatise, political manifesto, painting, calligraphy, and music. Western critics, Wang shows, also used lyricism to critique their perilous, epic time. He reads Martin Heidegger, Theodor Adorno, Cleanth Brooks, and Paul de Man, among others, to complete his portrait. The Chinese case only further intensifies the permeable nature of lyrical discourse, forcing us to reengage with the dominant role of revolution and enlightenment in shaping Chinese—and global—modernity. Wang's remarkable survey reestablishes Chinese lyricism's deep roots in its own native traditions, along with Western influences, and realizes the relevance of such a lyrical calling of the past century to our time.
She was the Xia Family's daughter who had been left behind. He was the high and mighty head of the Lu Family. He originally thought that the two of them wouldn't have any interactions, but fate loved to joke around. One day, she was called Mommy by a little shota while dragging her clothes. The man behind her had a complacent smile on his face as he said, "Xia Xun Sheng, let's get married." "Sorry, we're not familiar with each other!" "It doesn't matter. We will have a lifetime to get to know each other." He was taken home without realizing it. After the wedding, she hid in the quilt and bit her finger. "You go out, I don't want to sleep in the same room as you, you beast.
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
Situated at an important juncture within the network of silk routes from China through central Asia, the oasis city of Dunhuang was an ancient site of Buddhist religious activity. Southeast of the city, the Mogao Caves, also known as the Caves of the Thousand Buddhas, are an astonishing group of hundreds of caves, carved in the cliffs between the fourth and fourteenth centuries, and containing sculptures and paintings. Further east sit the Yulin Caves, another critical and richly decorated site. Featuring some of the finest examples of Buddhist imagery to be found anywhere in the world, these caves have enticed explorers, archaeologists, artists, scholars, and photographers since the early twentieth century.0'Visualizing Dunhuang: The Lo Archive Photographs of the Mogao and Yulin Caves' presents for the first time in print the comprehensive photographic archive-created in the 1940s by James C. M. Lo (1902-1987) and his wife, Lucy L. Lo (b. 1920)-of the remarkable Buddhist caves at Dunhuang. In this extraordinary nine-volume set, more than 2,500 black-and-white photographs provide an indispensable historical record. Invaluable for their documentary value and artistic quality, and thorough in their coverage and clarity, the images represent a rare perspective on significant monuments, many now irretrievably changed.0Exquisitely produced, this landmark publication is a definitive reference for scholars, collectors, and libraries in art history and Asian studies.0Published in association with the Tang Center for East Asian Art, Princeton University.00"Vol. 9: Essays" is also available separately: ISBN 9780691208169.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.