kuo jason (38 Ergebnisse)

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Paperback. Zustand: As New. Still in shrink wrap.

Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Zustand: Very Good. Very Good condition. Volume 3. (art, pottery, ceramics, asia, china).

Paperback. Zustand: Good. 2. It's a preowned item in good condition and includes all the pages. It may have some general signs of wear and tear, such as markings, highlighting, slight damage to the cover, minimal wear to the binding, etc., but they will not affect the overall reading experience.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

softcover. Zustand: Sehr gut. 342 p. ISBN: 9780986021664 Sprache: Englisch Gewicht in Gramm: 499.

Zustand: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Clean from markings. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,600grams, ISBN:9780986021664.

PAPERBACK. 1st edition. 116pp, quarto. Studies in Chinese Art History and Archaeology, No.1. light cover wear, tight binding, clean throughout, Very Good-.

Hardback. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. Very good hardback copy in very good dustjacket. xii, 196pp, illustrated. Book.

Paperback. Zustand: Brand New. 180 pages. 11.50x8.25x0.75 inches. In Stock.

hardcover. Zustand: Very Good.

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: very good.

Hardcover. Small Quarto, ix, xxiii, 264 pages. In Very Good condition with a Very Good dust jacket. Spine light grayish beige with black lettering. Exterior has very slight wear including mild sunning to the spine and minor edge wear. Boards have very slight wear including sparse faint scuffs and minimal sunning. Slight cocking to the spine. Text block has mild wear including slight age toning to the edges. Profusely illustrated. Inscribed by the author. Oversized book(s). Additional postage necessary for expedited/international orders. Economy International shipping unavailable due to size/weight restrictions. For international/expedited customers, please inquire about rates. NOTE: Shelved in Netdesk Column L (ND-L). 1398811. FP New Rockville Stock.

Same day dispatch. Lovely copy.

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. KlappentextrnrnThe aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges .

Zustand: New. KlappentextrnrnIn recent years, we have mourned the deaths of many of the most prominent scholars in Chinese calligraphy and painting working in the United States. Many other scholars have retired. It is time for us to celebrate their scholarshi.

Zustand: New. KlappentextrnrnThis volume addresses questions of canon, value, historiographical interest, and large-scale historical structures as they apply to Chinese art history in the context of post-colonial studies.n As the field of Chinese a.

Zustand: New. KlappentextrnrnVisual Culture in Shanghai, 1850s-1930s is a study of formal and informal meanings of Haipai ( Shanghai School or Shanghai Style ), as seen through the paintings of the Shanghai school as well as other media of visual representa.

4°. 92 S., 98 Objekte alle mit ausführlicher Beschreibung u. Abbildung. OKart. Sprache: englisch.

Buch. Zustand: Neu. Neuware - The aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges facing art historians and museum professionals today is that graduate schools have produced art historians with serious weakness, particularly a lack of direct firsthand experience with works of art in the original. If we base our construction of art history on works of calligraphy and painting and on the inscriptions, colophons, and seal impressions that accompany them, we must first make sure of their authorship and identity.'This fascinating book, the first one in which connoisseurship in Chinese painting and in European painting are discussed together, enables us not only to confront several approaches in the authentication of Chinese painting, but also to benefit from the Western art studies in connoisseurial analysis and the complex nature of copywork.'Michèle Pirazzoli-t'Serstevens, formerly Curator of Far Eastern Art of the Musée Guimet, Paris, currently Directeur d'études, École Pratique des Hautes Études, Paris, author of La Civilisation du Royaume de Dian à l'époque Han, La Chine des Han:histoire et civilization, Giuseppe Castiglione (1688-1766): Peintre et Architecte à la Cour de Chine, and editor of Storia Universale dell'Arte : La Cina.'These thoughtful essays, addressing a range of historical, cultural, and philosophical issues, should remind all of us that the objectness of objects is the starting point from which all else follows.'Peter Sturman, Chair, Department of the History of Art and Architecture, University of California, Santa Barbara, and author of Mi Fu: Style and the Art of Calligraphy in Northern Song China.'Connoisseurship is the most fundamental yet often overlooked aspect of art history: it has the ability to affirm or completely change our understanding of an art work, the artist's oeuvre, or even art history itself. This volume is the first extensive investigation of Chinese connoisseurship as a general and theoretical discipline.'Pauline Lin, Bryn Mawr College, has published articles in The Review of Politics and Dictionary of Literary Biography: Classical Chinese Writers and is working on a book, Nature Inside Out: The Culture of Landscape from the City of Ye (196-240).'Connoisseurship is the necessary base of art history, for until we know who made what when, we cannot engage in interpretation of paintings. Bringing together scholars from diverse backgrounds, this volume provides the necessary basis for the most important task facing art historians today, the creation of a true world art history.' David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art and author of Sean Scully, Museum Skepticism: A History of the Display of Art in Public Galleries, and A World Art History.

Buch. Zustand: Neu. Neuware - This volume addresses questions of canon, value, historiographical interest, and large-scale historical structures as they apply to Chinese art history in the context of post-colonial studies.As the field of Chinese art history moves into postcolonial studies, institutional critique, and economic and social contextualization, it is especially important that questions of canon, value, historiographical interest, and large-scale historical structures not be left behind. The aim of this book is to examine critically the historiography of the field of Chinese painting, to assess what achievements have been made, and to understand what and how personal backgrounds of scholars and institutional constraints may have affected various practices in the field.'This volume is a comprehensive and critically self-aware introduction to the history of Chinese art historiography in America, and includes reflections on more general issues of the encounters between East and West. This is a timely, much-needed book.'Olga Lomová, Director, Institute of East Asian Studies, Charles University, Prague, andDircetor, Chiang Ching-kuo Foundation International Sinological Center, Prague;Editor of Recarving the Dragon: Understanding Chinese Poetics.'This volume provides a true dialogical interaction of ideas in scholarship and reveals Western, Chinese and Japanese approaches to Far Eastern artistic heritage. The mutual elucidation of pedagogical wisdoms brings about salutary heuristic lessons that help readers overcome assumptions in which Western theoretical methodology has been trapped for so long.'Shigemi Inaga, Professor, International Research Center for Japanese Studies (Kyoto, Japan); John Kluge Chair of Modern Culture in the Kluge Center at the Library of Congress;Editor of Crossing Cultural Borders: Beyond Reciprocal Anthropology; author of Kaiga no tasogare: Eduaru Mane botsugo no toso .'This volume contributes importantly toward understanding the current state of Chinese art history in the US and its complicated historiography. It is provocatively argued, engagingly written, and passionately felt.'Katharine P. Burnett, Associate Professor of Art History, University of California at Davis, has published articles in Art History, Word & Image, and Orientations and is working on a book, Dimensions of Originality: Essays in Seventeenth-Century Chinese Art.'This volume is the next in Jason Kuo's long bibliography of original and important contributions to the study of Chinese painting. Each essay raises questions that draw Chinese painting into the discourse of modernism more generally.'Nancy S. Steinhardt, Professor of East Asian Art and Curator of Chinese Art at the Museum of Archaeology and Anthropology, University of Pennsylvania. Author of Chinese Traditional Architecture, Chinese Imperial City Planning, and Liao Architecture. Editor and adaptor of Chinese Architecture, and co-editor of Hawaii Reader in Traditional Chinese Culture.

Buch. Zustand: Neu. Perspectives on Connoisseurship of Chinese Painting | Jason C Kuo | Buch | Gebunden | Englisch | 2008 | New Academia Publishing, LLC | EAN 9780980081473 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.

Buch. Zustand: Neu. Neuware - Visual Culture in Shanghai, 1850s-1930s is a study of formal and informal meanings of Haipai ('Shanghai School' or 'Shanghai Style'), as seen through the paintings of the Shanghai school as well as other media of visual representation. The book provides us a point of entry into the nexus of relationships that structured the encounter between China and the West as experienced by the treaty-port Chinese in their everyday life. Exploring such relationships gives us a better sense of the ultimate significance of Shanghai's rise as China's dominant metropolitan center. This book will appeal not only to art historians, but also to students of history, gender studies, women's studies, and culture studies who are interested in modern China as well as questions of art patronage, nationalism, colonialism, visual culture, and representation of women.'This book constitutes a significant contribution to the literature about a period and a city that were pivotal to the emergence of modern China.'Richard K. Kent, Franklin & Marshall College.'This book navigates the complexity of Chinese modernity. It bridges, conceptually and visually, the China of the past to present-day Shanghai, the symbol of the urban economy of 21st-century China.'Chao-Hui Jenny Liu, New York University.'Shanghai was the rising and dynamic metropolis, where many aspects of modernity were embraced with enthusiasm. Pictorial art was no longer the domain of the elite, but professionalization, commercialization, popularization, and Westernization contributed to the dissemination of images to a larger and diverse audience.'Minna Törmä, University of Helsinki.