Focusing on the ways written culture interacts with philosophical, social, and political changes, The Power of the Brush examines the social effects of an “epistolary revolution” in sixteenth-century Korea and adds a Korean perspective to the evolving international discourse on the materiality of texts. It demonstrates how innovative uses of letters and the appropriation of letter-writing practices empowered cultural, social, and political minority groups: Confucians who did not have access to the advanced scholarship of China; women using vernacular Korean script, who were excluded from the male-dominated literary culture, which used Chinese script; and provincial literati, who were marginalized from court politics. The physical peculiarities of new letter forms such as spiral letters, the cooptation of letters for purposes other than communication, and the rise of diverse political epistolary genres combined to form a revolution in letter writing that challenged traditional values and institutions. New modes of reading and writing that were developed in letter writing precipitated changes in scholarly methodology, social interactions, and political mobilization. Even today, remnants of these traditional epistolary practices endure in media and political culture, reverberating in new communications technologies.

This gorgeous picture book biography, according to Kirkus Reviews in a starred review, is "a cheerful introduction not only to Wu Daozi, but to the power of inspiration." Who wants to learn calligraphy when your brush is meant for so much more? Wu Daozi (689-758), known as China's greatest painter and alive during the T'ang Dynasty, is the subject of this stunning picture book. When an old monk attempts to teach young Daozi about the ancient art of calligraphy, his brush doesn't want to cooperate. Instead of characters, Daozi's brush drips dancing peonies and flying Buddhas! Soon others are admiring his unbelievable creations on walls around the city, and one day his art comes to life! Little has been written about Daozi, but Look and So masterfully introduce the artist to children.

The Qianlong emperor, who dominated the religious and political life of eighteenth-century China, was in turn dominated by elaborate ritual prescriptions. These texts determined what he wore and ate, how he moved, and above all how he performed the yearly Grand Sacrifices. In Of Body and Brush, Angela Zito offers a stunningly original analysis of the way ritualizing power was produced jointly by the throne and the official literati who dictated these prescriptions. Forging a critical cultural historical method that challenges traditional categories of Chinese studies, Zito shows for the first time that in their performance, the ritual texts embodied, literally, the metaphysics upon which imperial power rested. By combining rule through the brush (the production of ritual texts) with rule through the body (mandated performance), the throne both exhibited its power and attempted to control resistance to it. Bridging Chinese history, anthropology, religion, and performance and cultural studies, Zito brings an important new perspective to the human sciences in general.

Invites young readers to touch Baroque and Renaissance paintings, including Da Vinci's "Mona Lisa," Botticelli's "Birth of Venus," and Vermeer's "Girl with a Pearl Earring." On board pages.

Dive into A Brush of Darkness, the first book in the Abby Sinclair trilogy. The man of her dreams might be the cause of her nightmares. Six months ago, Abby Sinclair was struggling to pick up the pieces of her shattered life. Now, she has an enchanted iPod, a miniature unicorn living in her underwear drawer, and a magical marketplace to manage. But despite her growing knowledge of the OtherWorld, Abby isn’t at all prepared for Brystion, the dark, mysterious, and sexy-as- sin incubus searching for his sister, convinced Abby has the key to the succubus’s whereabouts. Abby has enough problems without having this seductive shape-shifter literally invade her dreams to get information. But when her Faery boss and some of her friends vanish, as well, Abby and Brystion must form an uneasy alliance. As she is sucked deeper and deeper into this perilous world of faeries, angels, and daemons, Abby realizes her life is in as much danger as her heart—and there’s no one she can trust to save her.

French symbolist artist Odilon Redon (1840–1916) seemed to thrive at the intersection of literature and art. Known as “the painter-writer,” he drew on the works of Poe, Baudelaire, Flaubert, and Mallarmé for his subject matter. And yet he concluded that visual art has nothing to do with literature. Examining this apparent contradiction, The Brush and the Pen transforms the way we understand Redon’s career and brings to life the interaction between writers and artists in fin-de-siècle Paris. Dario Gamboni tracks Redon’s evolution from collaboration with the writers of symbolism and decadence to a defense of the autonomy of the visual arts. He argues that Redon’s conversion was the symptom of a mounting crisis in the relationship between artists and writers, provoked at the turn of the century by the growing power of art criticism that foreshadowed the modernist separation of the arts into intractable fields. In addition to being a distinguished study of this provocative artist, The Brush and the Pen offers a critical reappraisal of the interaction of art, writing, criticism, and government institutions in late nineteenth-century France.

Its history, techniques, aesthetics, and philosophy—with an in-depth practical guide to understanding and drawing 150 characters A guide to the history and enjoyment of Chinese and Japanese calligraphy that offers the possibility of appreciating it in a hands-on way—with step-by-step instructions for brushing 150 classic characters. This book is a comprehensive and accessible introduction to the history and art of calligraphy as it's been practiced for centuries in China, Japan, and elsewhere in Asia. It works as a guide for the beginner hoping to develop an appreciation for Asian calligraphy, for the person who wants to give calligraphy-creation a try, as well as for the expert or afficionado who just wants to browse through and exult in lovely examples. It covers the history and development of the art, then the author invites the reader to give it a try. The heart of the book, called "Master Samples and Study," presents 150 characters--from "action" to "zen"--each in a two-page spread. On each verso page the character is presented in three different styles, each one chosen for its beauty and identified by artist when possible. The character's meaning, pronunciation (in Chinese, Japanese, Korean, and Vietnamese), etymology, the pictograph from which it evolved, and other notes of interest are included. At the bottom of the page the stroke order is shown: the sequence of brush movements, numbered in their traditional order. On each facing recto page is Kaz's own interpretation of the character, full page.

Learn about the process of intuitive painting and the expressive arts as a method to cultivate joyful creative freedom and authenticity through stories as conversations, journal prompts and intuitive painting principles and practices.

While popular movements in South Korea rightly grab the headlines for forcing political change and holding leaders to account, those movements are only part of the story of the construction and practice of democracy. In Top-Down Democracy in South Korea, Erik Mobrand documents another part – the elite-led design and management of electoral and party institutions. Even as the country left authoritarian rule behind, elites have responded to freer and fairer elections by entrenching rather than abandoning exclusionary practices and forms of party organization. Exploring South Korea’s political development from 1945 through the end of dictatorship in the 1980s and into the twenty-first century, Mobrand challenges the view that the origins of the postauthoritarian political system lie in a series of popular movements that eventually undid repression. He argues that we should think about democratization not as the establishment of an entirely new system, but as the subtle blending of new formal rules with earlier authority structures, political institutions, and legitimizing norms.