DOCSLIB.ORG

New Publications Japanese Art Latest Acquisitions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Publications Japanese Art Latest Acquisitions HANSHAN TANG BOOKS • L IST 145 NEW PUBLICATIONS JAPANESE ART LATEST ACQUISITIONS H ANSHAN TANG B OOKS LTD Unit 3, Ashburton Centre 276 Cortis Road London SW 15 3 AY UK Tel (020) 8788 4464 Fax (020) 8780 1565 Int’l (+44 20) [email protected] www.hanshan.com CONTENTS N EW & R ECENT P UBLICATIONS / 3 J APANESE A RT / 9 F ROM O UR S TOCK / 31 S UBJECT I NDEX / 60 T ERMS The books advertised in this list are antiquarian, second-hand or new publications. All books listed are in mint or good condition unless otherwise stated. If an out-of-print book listed here has already been sold, we will keep a record of your order and, when we acquire another copy, we will offer it to you. If a book is in print but not immediately available, it will be sent when new stock arrives. We will inform you when a book is not available. Prices take account of condition; they are net and exclude postage. Please note that we have occasional problems with publishers increasing the prices of books on the actual date of publication or supply. For secondhand items, we set the prices in this list. However, for new books we must reluctantly reserve the right to alter our advertised prices in line with any suppliers’ increases. P OSTAL C HARGES & D ISPATCH United Kingdom: For books weighing over 700 grams, minimum postage within the UK is GB £6.50. If books are lighter and we are able to charge less for delivery, we will do so. Dispatch is usually by a trackable three working day courier service. Rest of the World: Dispatch is by the speediest and most economical method, currently Royal Mail International (not trackable). We try to use services which are as inexpensive as surface postage, but are air-lifted wherever possible. Valuable ship - ments will be registered. Larger bulk shipments are dispatched by bag mail. Small consignments are sent by surface mail unless otherwise directed. Should you require a different service, such as air-mail or courier, please let us know your requirements. Please Note: If you enclose payment with your order, please add at least 15% to cover postage, observing the above minimum of GB £6.50. Any excess will be refunded or credited. If you pay by credit card, exact postage will be charged. All books are dispatched at the consignee’s risk and they remain the property of Hanshan Tang Books Ltd until full payment has been received. PAYMENT Payments may be made by Visa, Mastercard, American Express and Switch. Other means of payment are as follows (Please note: Charges for direct transfers must be borne by the sender — We can only credit your account with the Net amount received.): United Kingdom: by personal cheque, by giro transfer to our Girobank account or by direct transfer to our bank. (Please, as already noted: Charges for direct transfers must be borne by the sender — We can only credit your ac - count with the Net amount received.) United States: by personal US$ cheque, by transfer to our bank in New York, or by a cheque in Sterling or Euros drawn on an EU-based bank. Any other form of payment must be accompanied by an extra GB £15.00 to cover bank charges. Europe: by banker’s draft drawn on a UK bank, or by a cheque in Sterling or Euros drawn on an EU-based bank. Any other form of payment should be accompanied by an extra GB £15.00 to cover bank charges. If making a di - rect transfers, please contact us for iban and swiftbic numbers. Rest of the World: by banker’s draft drawn on a UK bank. Other forms of payment should be accompanied by an extra GB £15.00 to cover bank charges. The front & rear cover illustration is from item 417. 145 3 & LIST – – NEW RECENT PUBLICATIONS & NEW RECENT PUBLICATIONS 1 2007 ZHONGGUO BAIJIA JINLING HUAZHAN (ZHONGGUO HUA) ZUOPIN JI LUNWEN JI. W2o0r0k7s 中and國 百T家he金ses陵 畫Co展 ll（ect中io國n 畫 o）f 作 20品07集 。A論rt 文E集 xhibition (Chinese Painting) in Nanjing China. Nanjing, 2007. 16, 183 pp. Full page colour plates throughout, b/w text illustrations; 8, 197 pp. 6 b/w plates. 2 vols. 29x23 cm. Boards. £70.00 Catalogue showing 100 works selected (from over 4000 submitted) for the 2007 Art Exhibition of Chinese painting held in Nanjing. A separate volume of essays accompanies. Preface in English. Main text in Chinese. 2 2008 ANT骨I董QU拍E賣 S:年 C鑒H I2N0E08 SE ARTS AUCTION RECORDS 2007.1.1-2007.12.31. 2008 Gudong Paimai Nianjian. Taibei, 2008. c.500 pp. Colour plates throughout. 23x17 cm. Wrappers. £80.00 Detailed coverage of auction prices for Chinese ceramics, jade, bronzes, sculpture and numerous other fine works of art in various media sold at various houses in the US, Europe and the Far East in 2007. Colour illustrations throughout. Thousands of fine examples are shown with prices realised. Brief captions to plates in both Chinese and English. A prime reference. 3 Albertini, Claudia: AVATARS AND ANTIHEROES. A Guide to Contemporary Chinese Artists. Tokyo, 2008. 174 pp. 250 colour plates. 25x19 cm. Cloth. £30.00 Showcases the work of the most important artists and movements to have developed in China in re - cent years, from the Cynical Realism and Political Pop movements of the early 1990s through to the pop-culture generation. Illustrated throughout. 寶雞關 桃圓 4 BAOJI GUANTAOYUAN. Guantaoyuan at Baoji. Beijing, 2007. 368 pp. text plus 40 pp. colour plates & 24 pp. b/w plates. Numerous b/w text drawings. 26x19 cm. Cloth. £45.00 The site of Guantaoyuan near Baoji in China’s Shaanxi province is notable for remains of pre-Yang - shao cultures together with remains from the Western Zhou, Spring and Autumn and Warring States periods. This is a detailed report of excavations at the site. Main finds were extensive amounts of Ne - olithic pottery. Three page abstract in English. Main text in Chinese. 寶雞建河墓地 5 BAOJI JIANHE MUDI. Ancient Tombs in Jianhe Village of Baoji City. Xi’an, 2006. 3, 11, 230 pp. text plus 56 pp. b/w plates. Numerous b/w text drawings. 2 foldouts 26x19 cm. Cloth. £25.00 Archaeological examination of 48 tombs in Jianhe village in China’s Shaanxi province dating from the Qin to the Northern Song. Whilst not of high status, the tombs shed much light on the life and history of the area. Five page abstract in English. Main text in Chinese. 6 Barrett, T. H: THE WOMAN WHO DISCOVERED PRINTING. New Haven, 2008. 192 pp. Bibliography, index. Cloth. £16.99 By a historian with a keen interest in the history of the book in China, this is the story of the Empress Wu and the revolution in print - ing she inspired six centuries before Gutenberg, with new insights into politics, religion and technology in eighth-century (Tang) China. 7 Bartholomew, T. ed: THE DRAGON’S GIFT. The Sacred Arts of Bhutan. Chicago, 2008. 390 pp. 100 full page colour plates and numerous other colour plates. 30x23 cm. Cloth. £45.00 Catalogue accompanying an exhibition at the Honolulu Academy of Arts showing over 100 works of Buddhist art from Bhutan. The majority of exhibits come from temples and monasteries in the kingdom where they continue to be used in ritual practice. Most of the items have never been published or previously exhibited. Each object is illustrated in a full page colour plate and described in detail. Twelve accompanying essays. A very fine survey of Bhutanese Buddhist art. 8 Bartholomew, T. et al: LATER CHINESE JADES. Ming Dynasty to Early Twentieth Century From the Asian Art Museum of San Francisco. San Francisco, 2008. 366 pp. Colour plates throughout. 31x24 cm. Cloth. £55.00 Drawn from the collection of the Asian Art Museum, this work illustrates and describes in much detail 388 fine jades dating from the Ming, Qing and Republic periods. Of value are the essays which include: Li: Chinese Jade Art in the Ming and Qing Dynasties; Knight: Markets and Tastes in Chinese Jades from 1821 to 1949; Bartholomew: Non-Chinese Jades: Islamic and Mughal Works. In - teresting appendix: Jade Workers of the Ming and Qing Dynasties. A fine contribution. 20 9 世Be紀ijin北g 京H繪uay畫ua史 n ed: 20 SHIJI BEIJING HUIHUA SHI. (A History of 20th Century Painting in Beijing). Beijing, 2007. 1, 8, 525 pp. Colour and b/w text illustrations. 28x21 cm. Wrappers. £75.00 Detailed history of paintings, painters and painting schools associated with Beijing throughout the course of the 20th century. Numerous illustrations accompany. text in Chinese. 10 Bunker, E. & Latchford, D: KHMER GOLD. Gifts for the Gods. Chicago, 2008. xix, 147 pp. Colour plates throughout. 30x21 cm. Cloth. £45.00 A groundbreaking study of the gold artefacts created by the Khmer people who founded Cambodia. The objects are from major pub - lic and private collections in Cambodia, Great Britain, Thailand and the United States. In addition to illustration and description of the gold objects, also examines the craft and technology of the Khmer goldsmiths. A welcome addition to the literature on the subject. 11 故Ch宮en收 L藏ih：ua雕 e漆d: 。G陳 UG麗O華N 主G 編 SHOUCANG: DIAOQI. (The Gugong Collection: Carved Lacquer ware). Beijing, 2008. 307 pp. Colour plates throughout. 24x17 cm. Wrappers. £20.00 Illustrates and describes 200 superb examples of Chinese lacquer from the Ming and Qing dynasties in the collection of the Gugong Museum in Beijing and including many examples used by the imperial court. Text in Chinese. 長安 漢墓 。 程林泉 編著 12 Cheng Linquan ed: CHANG’AN HAN MU.
Load more

Recommended publications
  • 専門家会議 Meeting of Japanese Art Specialists
    専門家会議 Meeting of Japanese Art Specialists 2019 年 1 月 19 日（土） 於東京国立博物館 平成館第一会議室 January 19 (Sat.), 2019; Meeting Room 1, Heiseikan, Tokyo National Museum January 19, 2019: Meeting of Japanese Art Specialists Purpose: Tis meeting was an opportunity for experienced curators of Japanese art from North America, Europe, and Japan to exchange information and discuss challenges per- taining to their work. Venue: Meeting Room 1, Heiseikan, Tokyo National Museum Chairman and Facilitator: Mr. Atsushi Imai (Tokyo National Museum) Participants from North America Dr. Laura Allen (Asian Art Museum of San Francisco) Dr. Monika Bincsik (Te Metropolitan Museum of Art) Dr. Andreas Marks (Minneapolis Institute of Art) Dr. Anne Nishimura Morse (Museum of Fine Arts, Boston) Dr. Xiaojin Wu (Seattle Art Museum) Participants from Europe Dr. Rupert Faulkner (Victoria and Albert Museum) Dr. Akiko Yano (Te British Museum) Ms. Wibke Schrape (Museum für Kunst und Gewerbe Hamburg) Dr. Ainura Yusupova (Te Pushkin State Museum of Fine Arts) Mr. Menno Fitski (Rijksmuseum) Participants from Japan Mr. Tomoyuki Higuchi (Sendai City Museum) Dr. Maromitsu Tsukamoto (University of Tokyo, Institute for Advanced Studies on Asia) Mr. Takeo Oku (Agency for Cultural Afairs) Participants from the National Institutes for Cultural Heritage Mr. Atsushi Imai (Tokyo National Museum) Mr. Ryusuke Asami (Tokyo National Museum) Ms. Satomi Kito (Tokyo National Museum) Mr. Hideaki Kunigo (Tokyo National Museum) Mr. Hiroshi Asaka (Kyoto National Museum) Mr. Rintaro Inami (Kyoto National Museum) Ms. Melissa M. Rinne (Kyoto National Museum) Dr. Sakae Naito (Nara National Museum) Ms. Mihori Okina (Nara National Museum) Dr. Norifumi Mochizuki (Kyushu National Museum) Mr.
    [Show full text]
  • Dressing for the Times: Fashion in Tang Dynasty China (618-907)
    Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks.
    [Show full text]
  • HAN SHAN READER Upaya Zen Center Roshi Joan Halifax
    HAN SHAN READER Upaya Zen Center Roshi Joan Halifax Clambering up the Cold Mountain path, The Cold Mountain trail goes on and on: The long gorge choked with scree and boulders, The wide creek, the mist-blurred grass. The moss is slippery, though there's been no rain The pine sings, but there's no wind. Who can leap the world's ties And sit with me among the white clouds? Han Shan (Gary Snyder) (http://www.hermitary.com/articles/han-shan.html) Two distinct biographical traditions exist about the ninth-century Chinese poet and recluse who called himself Han-Shan (Cold Mountain). The first version emphasizes his eccentricity, his visits to a Buddhist temple for stints of odd jobs or to poke fun at the monks' self-importance. This tradition associates him with two other eccentric hermits, Shih-te (Pickup) and Feng-kan (Big Stick). The second tradition is based more solidly on the biographical elements found in his three-hundred-plus poems. These clues to the biography of Han-shan center around his life after the An Lu-shan Rebellion (755-763). For forty years the benign emperor Ming Huang had witnessed unprecedented prosperity under his rule. War, trade, social reform, and the proliferation of the arts had bestowed wealth on nearly every strata of T'ang dynasty China. But in dotage, the emperor's obsession with a concubine grew. He appointed the concubine's unscrupulous brother to full power while disappearing behind a veiled curtain of private pleasures. When the brother's rule inevitably brought about rebellion, the revolt was led by a Tatar official An Lu-shan, and the blood-letting and turmoil continued unabated for eight years.
    [Show full text]
  • Zen Masters at Play and on Play: a Take on Koans and Koan Practice
    ZEN MASTERS AT PLAY AND ON PLAY: A TAKE ON KOANS AND KOAN PRACTICE A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Brian Peshek August, 2009 Thesis written by Brian Peshek B.Music, University of Cincinnati, 1994 M.A., Kent State University, 2009 Approved by Jeffrey Wattles, Advisor David Odell-Scott, Chair, Department of Philosophy John R.D. Stalvey, Dean, College of Arts and Sciences ii TABLE OF CONTENTS Acknowledgements iv Chapter 1. Introduction and the Question “What is Play?” 1 Chapter 2. The Koan Tradition and Koan Training 14 Chapter 3. Zen Masters At Play in the Koan Tradition 21 Chapter 4. Zen Doctrine 36 Chapter 5. Zen Masters On Play 45 Note on the Layout of Appendixes 79 APPENDIX 1. Seventy-fourth Koan of the Blue Cliff Record: 80 “Jinniu’s Rice Pail” APPENDIX 2. Ninty-third Koan of the Blue Cliff Record: 85 “Daguang Does a Dance” BIBLIOGRAPHY 89 iii ACKNOWLEDGEMENTS There are times in one’s life when it is appropriate to make one’s gratitude explicit. Sometimes this task is made difficult not by lack of gratitude nor lack of reason for it. Rather, we are occasionally fortunate enough to have more gratitude than words can contain. Such is the case when I consider the contributions of my advisor, Jeffrey Wattles, who went far beyond his obligations in the preparation of this document. From the beginning, his nurturing presence has fueled the process of exploration, allowing me to follow my truth, rather than persuading me to support his.
    [Show full text]
  • The Daoist Tradition Also Available from Bloomsbury
    The Daoist Tradition Also available from Bloomsbury Chinese Religion, Xinzhong Yao and Yanxia Zhao Confucius: A Guide for the Perplexed, Yong Huang The Daoist Tradition An Introduction LOUIS KOMJATHY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 175 Fifth Avenue London New York WC1B 3DP NY 10010 UK USA www.bloomsbury.com First published 2013 © Louis Komjathy, 2013 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Louis Komjathy has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury Academic or the author. Permissions Cover: Kate Townsend Ch. 10: Chart 10: Livia Kohn Ch. 11: Chart 11: Harold Roth Ch. 13: Fig. 20: Michael Saso Ch. 15: Fig. 22: Wu’s Healing Art Ch. 16: Fig. 25: British Taoist Association British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 9781472508942 Library of Congress Cataloging-in-Publication Data Komjathy, Louis, 1971- The Daoist tradition : an introduction / Louis Komjathy. pages cm Includes bibliographical references and index. ISBN 978-1-4411-1669-7 (hardback) -- ISBN 978-1-4411-6873-3 (pbk.) -- ISBN 978-1-4411-9645-3 (epub) 1.
    [Show full text]
  • At the End of the Stream: Copy in 14Th to 17Th Century China
    Renaissance 3/2018 - 1 Dan Xu At the End of the Stream: Copy in 14th to 17th Century China There were no single words in Chinese equivalent to By the 14th century the three formats became the form the English word copy. By contrast, there were four preferred by artists, and remained unchallenged until distinctive types of copy: Mo (摹 ), the exact copy, was the early 1900s, when the European tradition of easel produced according to the original piece or the sketch painting came to provide an alternative.[1] The album of the original piece; Lin (临 ) denotes the imitation of was the last major painting format to develop. It ar- an original, with a certain level of resemblance; Fang rived along with the evolution of leaf-books. The album (仿 ) means the artistic copy of a certain style, vaguely was first used to preserve small paintings, later being connected with the original; and the last one, Zao (造 ), adopted by artists as a new format for original work refers to purely inventive works assigned to a certain and also as teaching resource or notebook for the master’s name. artist himself. Pictorial art in China frst emerged as patterns on In the process of the material change, it’s note- ritual vessels, then was transmitted to wall paintings worthy that Mo, the faithful copy, was involved in three and interior screens; later it was realised on horizontal slightly different ways: 1. to transmit an image from hand scrolls, vertical hanging scrolls and albums. manuscript/powder version to final work; 2.
    [Show full text]
  • INFORMATION to USERS This Manuscript Has Been Reproduced
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtbrough, substandard margin*, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g^ maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Beil & Howell Information Company 300 North Zee0 Road. Ann Arpor. Ml 48106-1346 USA 313/761-4700 800:521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission.
    [Show full text]
  • Kuo-Sung Liu Rebel As Creator
    The Art of Liu Kuo-sung and His Students RebelRebel asas CreatorCreator Contents Director’s Preface 5 Rebel as Creator: The Artistic Innovations of Liu Kuo-sung 7 Julia F. Andrews and Kuiyi Shen Liu Kuo-sung: A Master Artist and Art Educator 9 Chun-yi Lee Innovation through Challenge: the Creation of My Landscapes 11 Liu Kuo-sung Plates Liu Kuo-sung 19 Chen Yifen 25 Chiang LiHsiang 28 Lien Yu 31 Lin Shaingyuan 34 3 Luo Zhiying 37 Wu Peihua 40 Xu Xiulan 43 Zhang Meixiang 46 Director’s Preface NanHai Art is proud to present the exhibition Rebel as Creator: The Art of Liu Kuo-sung and His Students for the first time in the San Francisco Bay Area. It has taken NanHai and exhibiting artists more than one year to prepare for this exhibition, not to mention the energy and cost involved in international communication and logistics. Why did we spend so much time and effort to present Liu Kuo-sung? It can be traced back to when NanHai underwent the soul-searching process to reconfirm its mission. At that time, the first name that came to my mind was Liu Kuo-sung. As one of the earliest and most important advocates and practitioners of modernist Chinese painting, Liu has perfectly transcended Eastern and Western, tradition and modernity, established a new tradition of Chinese ink painting and successfully brought it to the center of the international art scene. Liu’s groundbreaking body of work best echoes NanHai’s commitment to present artworks that reflect the unique aesthetics of Chinese art while transcending cultural and artistic boundaries with a contemporary sensibility.
    [Show full text]
  • List of Publications
    LIST OF PUBLICATIONS BOOKS 2016 Altuigurische Aparimitāyus-Literatur und kleinere tantrische Texte. (Berliner Turfantexte XXXVI). Turnhout: Brepols, 234 Pp. + 10 Plates. Gudai Weiwueryu zanshi he miaoxiexing shige de yuwenxue yanjiu [Old Uyghur hymns and praises]. Shanghai: Shanghai Classics, XIV + 482 Pp. + 50 Plates. 2015 Gudai Weiwueryu zanshi he miaoxiexing shige de yuwenxue yanjiu [Old Uyghur hymns and praises]. Shanghai: Shanghai Classics, XIV + 482 Pp. + 50 Plates. [With Masahiro Shōgaito, Setsu Fujishiro, Noriko Ohsaki and Mutsumi Sugahara] The Berlin Chinese text U 5335 written in Uighur script. A reconstruction of the Inherited Uighur Pronunciation of Chinese. (Berliner Turfantexte XXXIV.) Turnhout: Brepols, 208 Pp. + 7 Plates. 2010 Prajñāpāramitā Literature in Old Uyghur. (Berliner Turfantexte XXVIII.) Turnhout: Brepols, 319 Pp. + 23 Plates. 2009 Alttürkische Handschriften Teil 15: Die uigurischen Blockdrucke der Berliner Turfansammlung. Teil 3: Stabreimdichtungen, Kalendarisches, Bilder, unbestimmte Fragmente und Nachträge. (Verzeichnis der Orientalischen Handschriften in Deutschland, Bd. XIII 23.) Stuttgart: Franz Steiner Verlag, 309 Pp. 2008 Alttürkische Handschriften Teil 12: Die uigurischen Blockdrucke der Berliner Turfansammlung. Teil 2: Apokryphen, Mahāyāna-Sūtren, Erzählungen, Magische Texte, Kommentare und Kolophone. (Verzeichnis der Orientalischen Handschriften in Deutschland, Bd. XIII 20.) Stuttgart: Franz Steiner Verlag, 264 Pp. 2007 Alttürkische Handschriften. Teil 11: Die uigurischen Blockdrucke der Berliner Turfansammlung. Teil 1: Tantrische Texte (VOHD XIII,19.). Beschrieben von Abdurishid Yakup und M. Knüppel. Stuttgart: Franz Steiner Verlag, 258 Pp. [Catalogue, technical remarks, blibliography and indexes (Pp. 27-258) are by A. Yakup] 2006 Dišastvustik: Eine altuigurische Bearbeitung einer Legende aus dem Catuṣpariṣat-sūtra. (Veröffentlichungen der Societas Uralo-Altaica 71.) Wiesbaden: Harrassowitz. VIII + 176 Pp. 2005 The Turfan dialect of Uyghur.
    [Show full text]
  • New Publications Art of South Asia Russian Works on Asian Art Latest Acquisitions
    HANSHAN TANG BOOKS • L IST 166 NEW PUBLICATIONS ART OF SOUTH ASIA RUSSIAN WORKS ON ASIAN ART LATEST ACQUISITIONS H ANSHAN TANG B OOKS LTD Unit 3, Ashburton Centre 276 Cortis Road London SW 15 3 AY UK Tel (020) 8788 4464 Fax (020) 8780 1565 Int’l (+44 20) [email protected] www.hanshan.com CONTENTS N EW & R ECENT P UBLICATIONS / 3 A RT & A RCHITECTURE OF S OUTH A SIA / 7 RUSSIAN WORKS ON A SIAN A RT / 15 F ROM O UR S TOCK / 19 S UBJECT I NDEX / 60 T ERMS The books advertised in this list are antiquarian, second-hand or new publications. All books listed are in mint or good condition unless otherwise stated. If an out-of-print book listed here has already been sold, we will keep a record of your order and, when we acquire another copy, we will offer it to you. If a book is in print but not immediately available, it will be sent when new stock arrives. We will inform you when a book is not available. Prices take account of condition; they are net and exclude postage. Please note that we have occasional problems with publishers increasing the prices of books on the actual date of publication or supply. For secondhand items, we set the prices in this list. However, for new books we must reluctantly reserve the right to alter our advertised prices in line with any suppliers’ increases. P OSTAL C HARGES & D ISPATCH United Kingdom: For books weighing over 700 grams, minimum postage within the UK is GB £10.00.
    [Show full text]
  • Tableaux Chronologiques Introduction
    TABLEAUX CHRONOLOGIQUES INTRODUCTION TABLEAUX CHRONOLOGIQUES 年代表 INTRODUCTION Le premier tableau donne une vue d’ensemble de la chronologie de l’histoire de Chine depuis les temps les plus anciens. Le second présente, dynastie par dynastie, les noms des souverains, leurs dates et leurs 年號 nianhao. La chronologie chinoise présente des particularités qu’il importe de signaler. CHRONOLOGIE LONGUE ET CHRONOLOGIE COURTE Il existe, depuis les temps anciens, deux chronologies pour l’histoire de la haute antiquité chinoise. L’une est dite « chronologie longue » car elle attribue aux événements des dates plus anciennes. La seconde est dite « chronologie courte ». Ainsi, pour l’empereur 堯 Yao, la première donne la date de 2357 et la seconde 2145. 1 TABLEAUX CHRONOLOGIQUES INTRODUCTION La première est celle que suit le 通鑑綱目 Tong Jian Gang Mu, Abrégé du miroir universel, composé par 朱喜 Zhu Xi. La seconde est basée sur le 竹書紀年 Zhu Shu Ji Nian, Annales sur bambou. Toutes ces dates sont très hypothétiques et les personnages mentionnés sont d’autant plus proches de la légende que l’on s’éloigne dans le temps. Mais il existe une tradition que l’on ne peut ignorer. La date de la victoire des Zhou sur les Shang a donné lieu à de nombreuses controverses. La chronologie dite longue, basée sur le 三統曆 San Tong Li, donne la date de 1122 A.C. La chronologie dite courte, basée sur le 竹書紀年 Zhu Shu Ji Nian, donne celle de 1050. Diverses autres dates ont été proposées. La grande majorité des historiens, se basant en partie sur des recherches astronomiques, adopte 1050 A.C.
    [Show full text]
  • The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio Guide Script
    The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection Audio guide script 400 Exhibition overview Welcome to “The Wisdom of Emptiness: Selected Works from the Xubaizhai Collection” exhibition. Xubaizhai was designated by the late collector of Chinese painting and calligraphy, Mr Low Chuck-tiew. A particular strength of the collection lies in the Ming and Qing dynasties works by masters of the “Wu School”, “Songjiang School”, “Four Monks”, “Orthodox School” and “Eight Eccentrics of Yangzhou”. This exhibition features more than 30 representative works from the Ming and Qing dynasties to the twentieth century. This audio guide will take you through highlighted pieces in the exhibition, as well as the artistic characteristics of different schools of painting and individual artists. 401．Exhibit no. 1 Shen Zhou (1427 – 1509) Farewell by a stream at the end of the year 1486 Hanging scroll, ink and colour on paper 143 x 62.5 cm Xubaizhai Collection Shen Zhou, courtesy name Qinan, was a native of Suzhou in Jiangsu province. He excelled in painting and poetry as well as calligraphy, in which he followed the style of Huang Tingjian (1045 – 1105), while his students included Wen Zhengming (1470 – 1559) and Tang Yin (1470 – 1524). Shen was hailed as the most prominent master of the Wu School of Painting and one of the Four Masters of the Ming dynasty (1368 – 1644). Studying under Chen Kuan (ca. 1393 – 1473), Du Qiong (1396 – 1474) and Liu Jue (1410 – 1472), Shen modelled his paintings on the styles of Wang Fu (1362 – 1416) and the Four Masters of the Yuan dynasty (1279 – 1368), but he also extended his interest to the works of the Zhe School and incorporated its techniques into his art.
    [Show full text]