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Xuanhe Catalogue of Paintings is the first complete translation of the well-known document produced at the court of Emperor Huizong (r. 1100–1125). Dated to 1120, the Catalogue is divided into ten categories of subject matter. Under Daoist and Buddhist Subjects, Figural Subjects, Architecture, Barbarian Tribes, Dragons and Fish, Landscape, Domestic and Wild Animals, Flowers and Birds, Ink Bamboo, and Vegetables and Fruit are biographies of 231 painters, ranging from famous early masters, such as Wu Daozi (ca. 685-758) and Li Cheng (919-967), to otherwise unknown artists of the Song-dynasty court, including fourteen eunuch officials and sixteen male and female members of the royal family. Titles of their pictures held in the palace collection are listed for each artist. These 6,396 paintings testify to the visual culture experienced by viewers of the twelfth century. The author's Introduction analyzes the Catalogue as a source of evidence about the formation of the Song-dynasty palace collection and argues that the majority of its pictures were already in the collection before Huizong's reign, as a result of conquest, confiscation, tribute, gift culture, collecting by earlier emperors, and the production of academy artists and regular officials at the Song court. Under Huizong's reign, around a thousand other pictures were added to the Catalogue through acquisition and reattribution. Open access edition funded by the National Endowment for the Humanities.

The masterpiece, Dream Journey in the Xiao and Xiang Rivers has been celebrated by critics throughout its long history. Now for the first time this study locates its original historical and social context, and traces its subsequent history and the role it fulfilled at various times.

China's entry into the modern era was shaped by unprecedented internal turmoil and external pressures, which brought a forceful end to two millennia of imperial rule and cultural insularity. The essays in this volume offer a variety of perspectives on the impact of the West on indigenous literature, architecture, painting, and calligraphy during this period (ca. 1860-1980). This book is published in conjunction with the exhibition "Nineteenth- and Twentieth-Century Chinese Paintings from the Robert H. Ellsworth Collection in The Metropolitan Museum of Art", held at the museum from 30th January-19th August 2001.

This groundbreaking study highlights the importance of images within Confucianism and to a shrine-tomb for Confucius's buried robe and cap.

An investigation of the myth, history, inscriptions, architecture, sculpture, painting, iconological program, festival, rituals and theater of the only known intact ancient dragon king temple in China

Exploring the history of art in China from its earliest incarnations to the present day, this comprehensive volume includes two dozen newly-commissioned essays spanning the theories, genres, and media central to Chinese art and theory throughout its history. Provides an exceptional collection of essays promoting a comparative understanding of China’s long record of cultural production Brings together an international team of scholars from East and West, whose contributions range from an overview of pre-modern theory, to those exploring calligraphy, fine painting, sculpture, accessories, and more Articulates the direction in which the field of Chinese art history is moving, as well as providing a roadmap for historians interested in comparative study or theory Proposes new and revisionist interpretations of the literati tradition, which has long been an important staple of Chinese art history Offers a rich insight into China’s social and political institutions, religious and cultural practices, and intellectual traditions, alongside Chinese art history, theory, and criticism

A follow-up to Early Chinese Religion (Brill, 2009-10), Modern Chinese Religion focuses on the third period of paradigm shift in Chinese cultural and religious history, from the Song to the Yuan (960-1368 AD). As in the earlier periods, political division gave urgency to the invention of new models that would then remain dominant for six centuries. Defining religion as “value systems in practice”, this multi-disciplinary work shows the processes of rationalization and interiorization at work in the rituals, self-cultivation practices, thought, and iconography of elite forms of Buddhism, Daoism, and Confucianism, as well as in medicine. At the same time, lay Buddhism, Daoist exorcism, and medium-based local religion contributed each in its own way to the creation of modern popular religion. With contributions by Juhn Ahn, Bai Bin, Chen Shuguo, Patricia Ebrey, Michael Fuller, Mark Halperin, Susan Huang, Dieter Kuhn, Nap-yin Lau, Fu-shih Lin, Pierre Marsone, Matsumoto Kôichi, Joseph McDermott, Tracy Miller, Julia Murray, Ong Chang Woei, Fabien Simonis, Dan Stevenson, Curie Virag, Michael Walsh, Linda Walton, Yokote Yutaka, Zhang Zong

This book, inspired by the sociologist Günter Dux, co-edited by the historian Hans Ulrich Vogel, and introduced by Mark Elvin, is a collective intellectual masterpiece written by some of the world’s leading scholars. Its purpose is to illuminate premodern Chinese ways of thinking about Nature by comparing them with their counterpart traditions in Europe. In so doing it also subtly reshapes our understanding of premodern European concepts of the natural world. The domains covered principally include philosophy, language, poetry, science, and mathematics, and their relations with society, technology, and politics. By analyzing the frequent partial similarities between these great two cultural areas in the context of their overall contrasts, it points the way for the first time to defining accurately the differences that have been critical for world history.

Huizong was an exceptional emperor who lived through momentous times. A man of many talents, he wrote poetry and created his own distinctive calligraphy style; collected paintings, calligraphies, and antiquities on a large scale; promoted Daoism; and involved himself in the training of court artists, the layout of gardens, and reforms of music and medicine. The quarter century when Huizong ruled is just as fascinating. The greatly enlarged scholar-official class had come into its own but was deeply divided by factional strife. The long struggle between the Chinese state and its northern neighbors entered a new phase when Song proved unable to defend itself against the newly emergent Jurchen state of Jin. Huizong and thousands of members of his family and court were taken captive, and the Song dynasty had to recreate itself in the South.