The cultivation of Chinese cymbidiums has a long history in China dating back to more than a thousand years ago. Chinese cymbidiums are commonly known as 'Lan' (兰) or 'Guo Lan' (国兰) in China.Lan has a special appeal and meaning to the Chinese as it symbolizes integrity, modesty and nobility. Confucius praised Lan as the 'Gentleman of Noble Virtue' (君子之风) and 'King of Fragrance' (王者之香). The love and appreciation for Lan, also known as 'Lan Culture', has become an integral part of Chinese culture.The book starts with the history of Lan and its association with Chinese culture and traditional customs, literature and the arts. This is followed by a description of the biology of Lan and cultivation practices of past and present. Finally, the prospects and future of Lan are presented and discussed.

List of transactions, v. 1-41 in v. 41.

With over 630 striking color photos and illustrations, this Chinese art guide focuses on the rich tapestry of symbolism which makes up the basis of traditional Chinese art. Chinese Art: A Guide to Motifs and Visual Imagery includes detailed commentary and historical background information for the images that continuously reappear in the arts of China, including specific plants and animals, religious beings, mortals and inanimate objects. The book thoroughly illuminates the origins, common usages and diverse applications of popular Chinese symbols in a tone that is both engaging and authoritative. Chinese Art: A Guide to Motifs and Visual Imagery is an essential reference for collectors, museum-goers, guides, students and anyone else with a serious interest in the culture and history of China.

Longlisted for the 2023 PEN/E.O. Wilson Literary Science Writing Award A kaleidoscopic journey into the world of nature’s most tantalizing flower, and the lives it has inspired. The epitome of floral beauty, orchids have long fostered works of art, tales of adventure, and scientific discovery. Tenacious plant hunters have traversed continents to collect rare specimens; naturalists and shoguns have marveled at orchids’ seductive architecture; royalty and the smart set have adorned themselves with their allure. In Orchid Muse, historian and home grower Erica Hannickel gathers these bold tales of the orchid-smitten throughout history, while providing tips on cultivating the extraordinary flowers she features. Consider Empress Eugenie and Queen Victoria, the two most powerful women in nineteenth-century Europe, who shared a passion for Coelogyne cristata, with its cascading, fragrant white blooms. John Roebling, builder of the Brooklyn Bridge, cultivated thousands of orchids and introduced captivating hybrids. Edmond Albius, an enslaved youth on an island off the coast of Madagascar, was the first person to hand-pollinate Vanilla planifolia, leading to vanilla’s global boom. Artist Frida Kahlo was drawn to the lavender petals of Cattleya gigas and immortalized the flower’s wilting form in a harrowing self-portrait, while more recently Margaret Mee painted the orchids she discovered in the Amazon to advocate for their conservation. The story of orchidomania is one that spans the globe, transporting readers from the glories of the palace gardens of Chinese Empress Cixi to a seedy dime museum in Gilded Age New York’s Tenderloin, from hazardous jungles to the greenhouses and bookshelves of Victorian collectors. Lush and inviting, with radiant full-color illustrations throughout, Orchid Muse is the ultimate celebration of our enduring fascination with these beguiling flowers.

Four friends. Three weddings. Two paths. Tori has kept men at a distance while pursuing her goals, and has relished in the friendships she has built. Upon returning to Oregon after college, she quickly realizes the number of weddings and engagements are increasing around her. She trips over the roots of her small town as each relative only seems to care about the prospects in her dating life. By happenstance (or Fate?), she reconnects with an acquaintance, and starts to see him in new ways. She quickly finds herself in a relationship with more depth and trust than she ever thought possible. Their connection is strong and deep, yet ends as quickly as it began. Was it Tori? Was it him? Was it something they could figure out? Do the things she wants most in her life just not align? Isn't this relationship what Tori has been working towards her entire life? Tori looks to her closest friends who know her best to help her untangle these questions, even though the answers lie with her. Beyond the Pear Blossoms is a deep exploration into the heart of the relationships we build, our competing desires, and the decisions we make. It's a journey through the moments of being lost, a reminder of the places where we feel found, and ultimately what it takes to choose our way.

584 species are described and illustrated in this supplement to Flowers of the Himalaya which was published in 1984. This book contains recent photographic material of species not previously covered or not previously illustrated, and includes many tropical species and some exotics.

Facsimile reprint of an edition first published in London in 1908. Includes the original text and all 53 original illustrations and map (some were omitted from editions and reprints since 1908). This is Banfield's story of life on Dunk Island in the early 20th century with details of the island's geography, history, flora and fauna. With an introduction by Banfield's biographer, Michael Noonan. The English-born author's other books include 'My Tropic Isle' and 'Tropic Days'.

PMFirst published in 1901 by the author of ?Camp Notes,? ?Legends of My Bungalow,? ?About Orchids, A Chat,? et

This book is a historical study of the use of Asian theatre for modern Western theatre as practiced by its founding fathers, including Aurélien Lugné-Poe, Adolphe Appia, Gordon Craig, W. B. Yeats, Jacques Copeau, Charles Dullin, Antonin Artaud, V. E. Meyerhold, Sergei Eisenstein, and Bertolt Brecht. It investigates the theories and practices of these leading figures in their transnational and cross-cultural relationship with Asian theatrical traditions and their interpretations and appropriations of the Asian traditions in their reactional struggles against the dominance of commercialism and naturalism. From the historical and aesthetic perspectives of traditional Asian theatres, it approaches this intercultural phenomenon as a (Euro)centred process of displacement of the aesthetically and culturally differentiated Asian theatrical traditions and of their historical differences and identities. Looking into the displaced and distorted mirror of Asian theatre, the founding fathers of modern Western theatre saw, in their imagination of the 'ghostly' Other, nothing but a (self-)reflection or, more precisely, a (self-)projection and emplacement, of their competing ideas and theories preconceived for the construction, and the future development, of modern Western theatre.