DOCSLIB.ORG

A Nice Lady in Shanghai and Other Stories: Turquoise Level Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Nice Lady in Shanghai and Other Stories: Turquoise Level Free FREE A NICE LADY IN SHANGHAI AND OTHER STORIES: TURQUOISE LEVEL PDF Zhu Yong | 88 pages | 01 Nov 2010 | Macmillan Education | 9780230406605 | English | Oxford, United Kingdom Jewellery - Wikipedia Besides gaining a greater insight into China, these stories help A Nice Lady in Shanghai and Other Stories: Turquoise Level learners increase their Chinese reading and character recognition skills though meaningful and stimulating contexts. This anthology of stories contains a rich and colorful selection of enjoyable reading about China, covering a wide range of topics including Modern China, ancient fables, history, culture, lifestyles and the Chinese language. This anthology of stories contains a rich and colorful selection of enjoyable reading about China, covering a wide range of topics including modern China, ancient fables, history, culture, lifestyles and the Chinese language. Besides gaining a greater insight into China, these stories help learners increase their Chinese reading and simplified character recognition skills through meaningful and stimulating contexts. At the same time, it also offers domestic and overseas tourists an opportunity to learn more about the local culture. Laoshe Teahouse…attracts many domestic and overseas tourists every day. Laoshe Teahouse was built in It is named after Laoshe, a famous Chinese writer, and Teahouse, his well-known modern. Guests can enjoy a variety of teas, refined desserts, and traditional Beijing snacks while attending shows. Since its opening, Laoshe Teahouse has been a destination for over forty heads of state and two million visitors from A Nice Lady in Shanghai and Other Stories: Turquoise Level and abroad. Besides gaining a greater insight into China, these stories help learners increase their Chinese reading and character recognition skills though meaningful and stimulating contexts. See More. It is named after Laoshe, a famous Chinese writer, and Teahouse, his well-known modern Cultural Insights that link to the story and give a deeper understanding of modern China drama. Macmillan Education. Published on Apr 22, Go explore. China's Coronavirus Lockdown Sees Surge in Abandoned Pets | Time Are you struggling to improve your Chinese fluency? With that in mind, you might be interested to know that there are Chinese books in the marketplace that do exactly that — Chinese Readers. However, not all Chinese readers are equal, A Nice Lady in Shanghai and Other Stories: Turquoise Level we would like to present only the best recommendations to you — so we came up with this list of criteria for choosing Chinese readers. In addition to interactive subtitles in Chinese and English, each vocabulary word comes with in-depth notes related to grammar and usage information. FluentU takes real-world videos—like music videos, movie trailers, news and inspiring talks—and turns them into personalized language learning lessons. Download: This blog post is available as a convenient and portable PDF that you can take anywhere. Click here to get a copy. Like other graded readers, the main bulk of the series consists of lots of stories. However, what really stands out for this series is that, while it has many stories, these are excellent story choices for foreigners. Not bad for a leisurely reading session. With the brilliant artwork, level appropriate stories, dedicated Chinese Grammar Wiki pages, and availability in both simplified and traditional Chinese characters, we believe Mandarin Companion is the best series for Chinese learners who want to expand their Chinese proficiency through reading. As you can see, these have a much heavier Chinese flavour than the two series. Coupled with MP3 A Nice Lady in Shanghai and Other Stories: Turquoise Level, the Graded Chinese Reader series is great for Chinese learners who really want to challenge themselves with some advanced, but guided reading material. An excellent choice for upper intermediate to advanced learners who really want to challenge their Chinese reading ability with higher level prose. Out of all the Chinese Readers presented here, this might be the most challenging series yet. Coupled with comprehensive annotations to explain words, and cultural aspects of these works, this series is excellent for the advanced Chinese learner with ample Chinese reading experience, who wants to further their Chinese proficiency by reading contemporary prose. Reading is the essence of learning any language — and I hope you will enjoy taking up reading one of these Chinese readers in guiding you along reading in Chinese. If you want continue learning Chinese with interactive and authentic Chinese content, then you'll love FluentU. FluentU naturally eases you into learning Chinese language. Native Chinese content comes within reach, and you'll learn Chinese as it's spoken in real life. FluentU has A Nice Lady in Shanghai and Other Stories: Turquoise Level wide range of contemporary videos—like dramas, TV shows, commercials and music videos. In fact, below you'll even see the song "Let It Go" from the hit movie "Frozen":. FluentU App Browse Screen. FluentU brings these native Chinese videos within reach via interactive captions. You can tap on any word to instantly look it up. All words have carefully written definitions and examples that will help you understand how a word is used. Tap to add words you'd like to review to a vocab list. Interactive Transcripts on FluentU. FluentU's Learn Mode turns every video into a language learning lesson. You can always swipe left or right to see more examples for the word you're learning. The best part is that FluentU always keeps track of your vocabulary. It suggests content and examples based on the words you're learning. Start using FluentU on the website with your computer or tablet or, better yet, download the FluentU app from the iTunes or Google Play store. If you liked this post, something tells me that you'll love FluentU, the best way to learn Chinese with real-world videos. Experience Chinese immersion online! FluentU A Nice Lady in Shanghai and Other Stories: Turquoise Level Chinese to life with real-world videos. Learning Chinese becomes fun and easy when you learn with movie trailers, music videos, news and inspiring talks. FluentU is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon. Amazon and the Amazon logo are trademarks of Amazon. We also participate in other affiliate advertising programs for products and services we believe in. Take your language learning to the next level with our popular e-book. By Baggio. Try FluentU for Free. All Rights Reserved. Contact Us Follow Us. Enter your e-mail address to get your free PDF! A Nice Lady in Shanghai and Other Stories by Zhou Jing Chinese ceramics show a continuous development since pre-dynastic times and are one of the most significant forms of Chinese art and ceramics globally. The first pottery was made during the Palaeolithic era. Chinese ceramics range from construction materials such as bricks and tiles, to hand-built pottery vessels fired in bonfires or kilnsto the sophisticated Chinese porcelain wares made for the imperial court and for export. Porcelain was a Chinese invention and is so identified with China that it is still called "china" in everyday English usage. Most later Chinese ceramics, even of the finest quality, were made on an industrial scale, thus few names of individual potters were recorded. Many of the most important kiln workshops were owned by or reserved for the emperor, and large quantities of Chinese export porcelain were exported as diplomatic gifts or for trade from an early date, initially to East Asia and the Islamic world, and then from around the 16th century to Europe. Chinese ceramics have had an enormous influence on other ceramic traditions in these areas. Increasingly over their long history, Chinese ceramics can be classified between those made for the imperial court to use or distribute, those made for a discriminating Chinese market, and A Nice Lady in Shanghai and Other Stories: Turquoise Level for popular Chinese markets or for export. Some types of wares were also made only or mainly for special uses such as burial in tombs, or for use on altars. The earliest Chinese pottery was earthenwarewhich continued in production for utilitarian uses throughout Chinese history, but was increasingly less used for fine wares. Stonewarefired at higher temperatures, and naturally impervious to water, was developed very early and continued to be used for fine pottery in many areas at most periods; the tea bowls in Jian ware and Jizhou ware made during the Song dynasty are examples. Porcelainon a Western definition, is "a collective term comprising all ceramic ware that is white and translucent, no matter what ingredients are used to make it or to what use it is put". Terms such as " porcellaneous " or "near-porcelain" may be used for stonewares with porcelain-like characteristics. Chinese pottery can also be classified as being either northern or southern. China comprises two separate and geologically different land masses, brought together by continental drift and forming a junction that lies between the Yellow and Yangtze rivers, sometimes known as the Nanshan - Qinling divide. The contrasting geology of the north and south led to differences in the raw materials available for making ceramics; in particular the north lacks petunse or "porcelain stone", needed for porcelain on the strict definition. Ware-types can be from very widespread kiln-sites in either north or south China, but the two can nearly always be distinguished, and influences across this divide may affect shape and decoration, but will be based A Nice Lady in Shanghai and Other Stories: Turquoise Level very different clay bodies, with fundamental effects. The kiln types were also different, and in the north the fuel was usually coal, as opposed to wood in the south, which often affects the wares.
Load more

Recommended publications
  • Final Program of CCC2020
    第三十九届中国控制会议 The 39th Chinese Control Conference 程序册 Final Program 主办单位 中国自动化学会控制理论专业委员会 中国自动化学会 中国系统工程学会 承办单位 东北大学 CCC2020 Sponsoring Organizations Technical Committee on Control Theory, Chinese Association of Automation Chinese Association of Automation Systems Engineering Society of China Northeastern University, China 2020 年 7 月 27-29 日，中国·沈阳 July 27-29, 2020, Shenyang, China Proceedings of CCC2020 IEEE Catalog Number: CFP2040A -USB ISBN: 978-988-15639-9-6 CCC2020 Copyright and Reprint Permission: This material is permitted for personal use. For any other copying, reprint, republication or redistribution permission, please contact TCCT Secretariat, No. 55 Zhongguancun East Road, Beijing 100190, P. R. China. All rights reserved. Copyright@2020 by TCCT. 目录 (Contents) 目录 (Contents) ................................................................................................................................................... i 欢迎辞 (Welcome Address) ................................................................................................................................1 组织机构 (Conference Committees) ...................................................................................................................4 重要信息 (Important Information) ....................................................................................................................11 口头报告与张贴报告要求 (Instruction for Oral and Poster Presentations) .....................................................12 大会报告 (Plenary Lectures).............................................................................................................................14
    [Show full text]
  • Imperial Tombs of the Ming and Qing Dynasties
    WHC Nomination Documentation File Name: 1004.pdf UNESCO Region: ASIA AND THE PACIFIC __________________________________________________________________________________________________ SITE NAME: Imperial Tombs of the Ming and Qing Dynasties DA TE OF INSCRIPTION: 2nd December 2000 STATE PARTY: CHINA CRITERIA: C (i) (ii) (iii) (iv) (vi) DECISION OF THE WORLD HERITAGE COMMITTEE: Criterion (i):The harmonious integration of remarkable architectural groups in a natural environment chosen to meet the criteria of geomancy (Fengshui) makes the Ming and Qing Imperial Tombs masterpieces of human creative genius. Criteria (ii), (iii) and (iv):The imperial mausolea are outstanding testimony to a cultural and architectural tradition that for over five hundred years dominated this part of the world; by reason of their integration into the natural environment, they make up a unique ensemble of cultural landscapes. Criterion (vi):The Ming and Qing Tombs are dazzling illustrations of the beliefs, world view, and geomantic theories of Fengshui prevalent in feudal China. They have served as burial edifices for illustrious personages and as the theatre for major events that have marked the history of China. The Committee took note, with appreciation, of the State Party's intention to nominate the Mingshaoling Mausoleum at Nanjing (Jiangsu Province) and the Changping complex in the future as an extention to the Imperial Tombs of the Ming and Qing dynasties. BRIEF DESCRIPTIONS The Ming and Qing imperial tombs are natural sites modified by human influence, carefully chosen according to the principles of geomancy (Fengshui) to house numerous buildings of traditional architectural design and decoration. They illustrate the continuity over five centuries of a world view and concept of power specific to feudal China.
    [Show full text]
  • Hkmoa Museum Visitor Experience Programme Our Picks 1
    HKMoA Museum Visitor Experience Programme Our Picks 1. Eclectic Mix Shitao (1642 – 1707) Illustrations for poems of Song and Yuan masters Not dated Album of 12 leaves (selected), ink and colour on paper Each 23 x 18 cm Xubaizhai Collection, Hong Kong Museum of Art Display location during project period: Xubaizhai Gallery of Chinese Painting and Calligraphy, 2/F First Glance "Three Distances" are widely adopted in traditional Chinese painting. High distance means viewers look from the bottom of a mountain to its peak. Deep distance is from the front of a mountain to its back. Level distance is from a near mountain to a far mountain. Have a look at the selected leaves of the album. Which perspective(s) did the artist use? Second Look This album is based on poetry from the Song and Yuan dynasties, skilfully integrating 1 the three perfections — poetry, calligraphy and painting. Shitao was not afraid of dispensing traditional brushstrokes, and he suggested that artists use their inspiration and empathy to gain a full understanding of the subject and then develop their own way of depicting it, as he did with the succinct brushwork that he applied to his paintings. 2 Wen Zhengming (1470 – 1559) Cooling off the hot summer 1540 Hanging scroll, ink and colour on silk 147.2 x 61 cm Xubaizhai Collection, Hong Kong Museum of Art Display location during project period: Xubaizhai Gallery of Chinese Painting and Calligraphy, 2/F First Glance The artist Wen Zhengming came from Suzhou, a place with summers as unbearably hot as those here in Hong Kong.
    [Show full text]
  • 713 Therefore Have Greater Potential in Terms of Commercial
    therefore have greater potential in terms of commercial application," Wang said. Wang is working on a deep-learning project for autonomous driving. He has used the Sunway Taihu Light supercomputer to assist his research, and expects the Tianhe-3 to be more helpful.1290 Shine Agency News Item dated March 05, 2020 titled “5G said to create 3 million jobs by 2025” reported that China's 5G network and related investment will hit 3.5 trillion Yuan (US$504 billion) and create 3 million jobs by 2025 to become a catalyst and key part of the national economy, a researcher with China's top industry regulator said. By 2025, direct investment in 5G network construction will hit 1.2 trillion Yuan. The 5G network upgrade on industrial Internet spending will hit 500 billion Yuan by 2025, as well as upgrade in other industries such as transportation, energy and agriculture, which will take total 5G-related investment to 3.5 trillion Yuan by 2025, said the China Academy of Information and Communications Technology (CAICT) , a research organization under the ministry. It will fuel smart and digitalized business transformation and boost economic development in a more innovation-driven way, said Wang Zhiqin, CAICT’s vice director. China's 5G industry will directly create over 3 million jobs by 2025, with booming and new information consumption services valued at over 8.3 trillion Yuan. The 5G-fueled services will include high-definition video and virtual reality services. The 5G network offers users 20 to 50 times faster Internet access compared with current 4G networks, with much lower latency.
    [Show full text]
  • Katalog 11.Pdf
    Lot Limit Estimation 1 LARGE SHIVA NATARAJA 300 € 500 € Bronze India, 19th century Dimensions: 37 cm by 30 cm Weight: 5.775 grams Shiva is a principal deity of Hinduism and Nataraja is the depiction of Shiva as the divine dancer and often a symbol of Indian culture and a popular motive in Hindu art. The translation is "lord/king of the dance". Here it is a rectangular, multi­stepped hollow base with various decorations topped by a round beaded rim. The God of Destruction is trampling on the dwarf called Apasmara purusha, symbol of evil and ignorance, the left leg is tilted up in an ecstatic movement. His right hand to the front is showing the abhaya mudra, gesture of fearlessness and has a snake curled around the arm, while the other hand is pointing at the left foot and symbolizes the refuge for troubled ones. The right raised hand is holding his attribute the damaru drum and the left hand is holding the fire agni, the forces of creation and destruction. The strands expanding from the back of his hand signify the river Ganga. The cosmic dance is set in a three­banded halo of floral decorations, waves and flames. Shiva is wearing a high crown, a short dhoti and jewellery on his whole body. The smiling face shows his calmness in spite of his energetic dance amid contrary forces. - Page 1 / 156 - Lot Limit Estimation 2SHIVA NATARAJA 300 € 500 € Bronze India, 19th century Dimensions: Height 25 cm by 21 cm Weight: 1.496 grams Another depiction of Lord Shiva's cosmic dance, standing on a lotus flower base on a rectangular platform.
    [Show full text]
  • Newsletter Issue #5 July 2014
    The Ling Drawing of Dunhuang When Professor Jao was in France, he had a chance to read the Dunhuang manuscripts taken to France by Paul Publications Pelliot (1878 - 1945), who was a sinologist, linguist, NEWSLETTER and explorer. And then he discovered the sketches on Besides exhibitions, the JPE also promotes Chinese art the backside of the manuscripts and scrolls, hence he through publications, and most of them are bilingual: ISSUE #5 commenced to study this particular type of painting. Chinese and English. Generally, catalogues will be published before each exhibition. JULY 2014 Afterwards, Professor Jao referred to the same type www.chineseartsociety.net of works housed in the British Museum, and finished In addition to the exhibition catalogues, the JPE also The Line Drawing of Dunhuang in Chinese. It was also produces other types of catalogues, such as Collected [email protected] translated into French and published by École française Art Works of Jao Tsung-I (12 volumes) published in d’Extrême-Orient in 1978. Because this version is 2006; The Line Drawing of Dunhuang (Chinese, English, { PATRON } rarely seen today, the JPE re-published this important Japanese) published in 2010; Professor Jao Tsung-i’s Prof. Jao Tsung-i academic work in Chinese, English and Japanese. The Collected Artworks (9 volumes) published in 2011; University of Hong Kong Chinese version was printed based on Professor Jao’s Collected Calligraphic Works of Professor Jao Tsung-I manuscript, and the English version was translated published in 2012. In addition, the JPE also publishes { HON. ADVISORS } according to the French edition.
    [Show full text]
  • China-India Review
    Vol. XXXI | No.9 | September 2019 ` 50 NEWS FROM CHINA CHINA-INDIA REVIEW Celebrating 70 Years of Nation-Building National Anthem The National Anthem was written in 1935, with lyrics by the noted poet Tian Han and music by the famous composer Nie Er. March of the Volunteers gave voice to the Chinese people’s determination to sacrifice themselves for national liberation, and expressed China’s admirable tradition of courage, resolution and unity in fighting foreign aggression. It was for this reason that the Chinese People’s Political Consultative Conference (CPPCC) decided to adopt the song as the provisional national anthem of the People’s Republic of China (PRC) on Sept 27, 1949, and the National People’s Congress (NPC) officially decided to adopt the song as the National Anthem of the PRC on Dec 4, 1982. LYRICS March of the Volunteers Arise, we who refuse to be slaves! With our very flesh and blood, Let us build our new Great Wall! The peoples of China are at their most critical time, Everybody must roar defiance. Arise! Arise! Arise! Millions of hearts with one mind, Brave the enemy’s gunfire, March on! Brave the enemy’s gunfire, March on! March on! March on, on! NATIONAL FLAG On September 27, 1949, the First Plenary Session of the Chinese People’s Political Consultative Conference (CPPCC) approved the proposal for using the red five-star flag as the national flag of the People’s Republic of China (PRC). The red color of the flag symbolizes revolution and the yellow color of the stars signifies the golden brilliant rays radiating from the vast red land.
    [Show full text]
  • China: the Glorious Tang and Song Dynasties
    China: The Glorious Tang and Song Dynasties A Workshop for Educators May 7, 2006 Acknowledgments WORKSHOP MATERIALS PREPARED BY: Brian Hogarth, Director of Education, Asian Art Museum Martin Backstrom, Ph.D, Assistant Director, Institute for East Asian Studies, University of California at Berkeley Michele Delattre, Program Representative, Office of Resources for International & Area Studies (ORIAS), University of California at Berkeley ADDITIONAL ESSAYS AND TEACHING EXERCISES WRITTEN BY: Chris Yingchun Yuan, Ph.D student, Department of Mechanical Engineering, U C Berkeley Zhaoyang Zhang, Ph.D student, Department of History, U C Berkeley Linda Chang, independent writer, educator, performer, San Francisco Carolyn Rinetti, Pleasanton Middle School, Pleasanton, California Kay Corcoran, Del Mar Middle School, Tiburon, California Donna Kasprowicz, Corte Madera Middle School, Portola Valley, California WITH THE ASSISTANCE OF: Stephanie Kao, School Programs Coordinator, Asian Art Museum Kristina Youso, Ph.D, Editor Jason Jose, Graphics Specialist, Asian Art Museum Kaz Tsuruta, Museum Photographer, Asian Art Museum Special thanks to Michael Knight, Ph.D, Senior Curator of Chinese Art, Asian Art Museum, and Forrest McGill, Ph.D, Chief Curator, Asian Art Museum for the valuable input and suggestions. The Asian Art Museum’s school programs are supported by the Citigroup Foundation. The museum’s edu- cational programs and activities are also supported by a major grant from the Freeman Foundation, as well as by support from the William Randolph Hearst Foundation, Stanley S. Langendorf Foundation, Joseph R. McMicking Foundation, and the Mary Tanenbaum Fund. Major support for AsiaAlive has been provided by The Wallace Foundation, Wells Fargo, and the Institute of Museum and Library Services by an Act of Congress.
    [Show full text]
  • CONSERVATOIRE NATIONAL DES ARTS ET MÉTIERS Ecole Doctorale
    CONSERVATOIRE NATIONAL DES ARTS ET MÉTIERS Ecole doctorale Abbé Grégoire N¦d'ordre : THÈSE DE DOCTORAT Histoire des Techniques présentée par : Mohammed Mortada Abd El-Raouf El-Gohari Design Tools for Enriching the Ceramics Forms Aesthetically by Experimental Treatments During and Post Firing Analyse rétrospective et comparatiste du traitement des surfaces céramiques anciennes pendant et après cuisson. Modélisation des glacures soutenue le : 24 September 2012 à Paris devant les membres du jury : THÈSE dirigée par M. André Guillerme Professeur, Cnam, Directeur de Thèse RAPPORTEURS Mm. Amina Ebeid Professeur, Université de Helwan, Rapporteur Mm. Laurence Lestel Professeur, Université Pierre et Marie Curie, Rapporteur EXAMINATEURS M. Jean-Pierre Chevalier Professeur, Cnam, Examinateur M. Renaud Caplain Maître de Conférences, Cnam, Examinateur Dedication I dedicate this dissertation to who was interested in my scientific fu- ture my late father, Mortada, who was always a source of pride and privilege, and my late mother who was a missing grace in my life since she died when I was a child, who have helped so much and have given me their fullest support. Particularly to my loving sister, Amany, and her small family and to my brother, Hany, and his small family. I thank my pretty daughter, Mariam, and my precious son, Mortada, who I missed very much during writing this work, and who have put up with these many years of research. Finally, I dedicate this work to everyone teach me something in my life, everyone help me for any- thing in my life or give me his nice smile, and my great family, my uncles and my aunts, all of whom believed in diligence, science, arts and the pursuit of academic excellence.
    [Show full text]
  • A Cup of Imperial Taste: the Formation of Ceramic Aesthetics Under Emperor Huizong (R
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2017 A Cup of Imperial Taste: The Formation of Ceramic Aesthetics under Emperor Huizong (r. 1100-1126) Kexin Ma College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Asian Art and Architecture Commons, Asian History Commons, Chinese Studies Commons, Esthetics Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Ma, Kexin, "A Cup of Imperial Taste: The Formation of Ceramic Aesthetics under Emperor Huizong (r. 1100-1126)" (2017). Undergraduate Honors Theses. Paper 1095. https://scholarworks.wm.edu/honorstheses/1095 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. A Cup of Imperial Taste The Formation of Ceramic Aesthetics under Emperor Huizong (r.1100-1126) A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Department of Art and Art History from The College of William and Mary by Kexin Ma Accepted for ___________________________________ (Non-Honors, Honors) ________________________________________ Xin Wu, Director ________________________________________ Catherine Levesque ________________________________________ Kevin Vose ________________________________________ Cristina Stancioiu Williamsburg, VA May 2nd, 2017 Abstract Ancient Chinese ceramics are objects of appreciation around the world and have been defined as works of art by the art world. My thesis, however, points out that the taken-for- granted idea that ceramics are born to be works of art in ancient China, is, in fact, a constructed interpretation.
    [Show full text]
  • China: the Glorious Tang and Song Dynasties
    China: The Glorious Tang and Song Dynasties A Workshop for Educators May 7, 2006 Acknowledgments WORKSHOP MATERIALS PREPARED BY: Brian Hogarth, Director of Education, Asian Art Museum Martin Backstrom, Ph.D, Assistant Director, Institute for East Asian Studies, University of California at Berkeley Michele Delattre, Program Representative, Office of Resources for International & Area Studies (ORIAS), University of California at Berkeley ADDITIONAL ESSAYS AND TEACHING EXERCISES WRITTEN BY: Chris Yingchun Yuan, Ph.D student, Department of Mechanical Engineering, U C Berkeley Zhaoyang Zhang, Ph.D student, Department of History, U C Berkeley Linda Chang, independent writer, educator, performer, San Francisco Carolyn Rinetti, Pleasanton Middle School, Pleasanton, California Kay Corcoran, Del Mar Middle School, Tiburon, California Donna Kasprowicz, Corte Madera Middle School, Portola Valley, California WITH THE ASSISTANCE OF: Stephanie Kao, School Programs Coordinator, Asian Art Museum Kristina Youso, Ph.D, Editor Jason Jose, Graphics Specialist, Asian Art Museum Kaz Tsuruta, Museum Photographer, Asian Art Museum Special thanks to Michael Knight, Ph.D, Senior Curator of Chinese Art, Asian Art Museum, and Forrest McGill, Ph.D, Chief Curator, Asian Art Museum for the valuable input and suggestions. The Asian Art Museum’s school programs are supported by the Citigroup Foundation. The museum’s edu- cational programs and activities are also supported by a major grant from the Freeman Foundation, as well as by support from the William Randolph Hearst Foundation, Stanley S. Langendorf Foundation, Joseph R. McMicking Foundation, and the Mary Tanenbaum Fund. Major support for AsiaAlive has been provided by The Wallace Foundation, Wells Fargo, and the Institute of Museum and Library Services by an Act of Congress.
    [Show full text]
  • A Nice Lady in Shanghai and Other Stories: Turquoise Level Free
    FREEA NICE LADY IN SHANGHAI AND OTHER STORIES: TURQUOISE LEVEL EBOOK Zhu Yong | 88 pages | 01 Nov 2010 | Macmillan Education | 9780230406605 | English | Oxford, United Kingdom Tiantian Zhongwen by Macmillan Russia - Issuu Chinese ceramics show a continuous development since pre-dynastic times and are one A Nice Lady in Shanghai and Other Stories: Turquoise Level the most significant forms of Chinese art and ceramics globally. The first pottery was made during the Palaeolithic era. Chinese ceramics range from construction materials such as bricks and tiles, to hand-built pottery vessels fired in bonfires or kilnsto the sophisticated Chinese porcelain wares made for the imperial court and for export. Porcelain was a Chinese invention and is so identified with China that it is still called "china" in everyday English usage. Most later Chinese ceramics, A Nice Lady in Shanghai and Other Stories: Turquoise Level of the finest quality, were made on an industrial scale, thus few names of individual potters were recorded. Many of the most important kiln workshops were owned by or reserved for the emperor, and large quantities of Chinese export porcelain were exported as diplomatic gifts or for trade from an early date, initially to East Asia and the Islamic world, and then from around the 16th century to Europe. Chinese ceramics have had an enormous influence on other ceramic traditions in these areas. Increasingly over their long history, Chinese ceramics can be classified between those made for the imperial court to use or distribute, those made for a discriminating Chinese market, and those for popular Chinese markets or for export.
    [Show full text]