Hanshan Tang Book New List 123

A few sample titles, newly in stock, that customers may like to order (please quote the six-character code in uppercase letters at the beginning of each record below):

PEISR1
Pei, Fang Jing: SYMBOLS AND REBUSES IN CHINESE ART. Figures, Bugs, Beasts and Flowers. Berkeley, 2004. x, 214 pp. Numerous colour photographs. 26x26 cm. Paper.

Catalogues hundreds of symbols and visual puns in Chinese art, be it designs on ceramics, paintings, carved figures etc. Describes and deciphers their meaning and significance. Arranged alphabetically from Alarum Staff to Zodiac. A huge help, an essential reference and a fascinating read.

THOIP1
Thompson, Julian: IMPERIAL PERFECTION: THE PALACE PORCELAIN OF THREE CHINESE EMPERORS KANGXI - YONGZHENG - QIANLONG. A Selection from the Wang Xing Lou Collection. Hong Kong, 2004. 282 pp. Over 250 colour plates. Cloth.

Catalogue of a collection of fine palace porcelain shown at the Minneapolis Institute of Art. 103 beautiful pieces of Qing dynasty imperial porcelain from the Kangxi, Yongzheng and Qianlong emperors are illustrated in excellent colour plates showing the entire piece plus other views and the basemark of each piece. With excellent descriptions.

GGMC57
Gugong Museum: GONGTING ZHENBAO. Treasures of Imperial Court. Complete Collection of Treasures Gugong, 57. Shanghai, 2004. 251 pp. c. 300 colour plates. Colour text illustrations. 29x22 cm. Boards.

A quite extraordinary assembly of 222 objects from the collection of the Gugong Museum. The objects are loosely grouped under the category of 'Treasures' which here covers a broad range of objects in a wide range of media. Includes jewelry, headdresses, court costumes, hairpins, jewel-encrusted swords, gold Buddhist pagodas, gold statues, jade massage implements, gold ewers and cups, lapis lazuli elephants, gold seals, censers. Many of the objects are extremely ornate and all date from the Qing dynasty. All are illustrated in colour and include views of close-up detail. Much unpreviously published. Captions in English, otherwise Chinese text.

CHOPC3
Chow, Kai-Wing: PUBLISHING, CULTURE AND POWER IN EARLY MODERN CHINA. Stanford, 2003. xv, 397 pp. 7 illustrations. 13 tables. Appendixes, character list, bibliography, index. 24x16 cm. Cloth.

A groundbreaking study of the influence of developments in printing and book production on Chinese society and culture in the sixteenth and seventeenth centuries.

GIRTQ1
Girton, Chris: THE TWO QUAIL PATTERN: 300 YEARS OF DESIGN ON PORCELAIN. A History of the Pattern and a Catalogue of Porcelain Factories from the East and the West. Buckingham, 2004. 113 pp. Numerous colour plates. 30x21 cm. Paper.

Catalogue of an exhibition held at Stockspring Antiques, London, and the Museum of Worcester Porcelain, Worcester. Shows the design of two quails on Chinese, Japanese and western porcelains. Illustrated throughout and with comprehensive texts.

JETSR2
Jett, Paul ed: SCIENTIFIC RESEARCH IN THE FIELD OF ASIAN ART. Proceedings of the First Forbes Symposium at the Freer Gallery of Art. London, 2003. xv, 207 pp. 288 illustrations, of which 43 in colour. 30x21 cm. Boards.

24 papers on very varied themes representing the very latest research and technologies in this field.

LAIUF1
Laing, Ellen Johnston and Helen Hui-ling Liu: UP IN FLAMES. The Ephemeral Art of Pasted-Paper Sculpture in Taiwan. Stanford, 2004. xx, 207 pp. 75 colour plates and 73 b/w text figures & plates. Map. Bibliography, index. 26x19 cm. Cloth.

The first comprehensive study of the traditional craft of paper sculpture - the construction in bamboo and paper of human figures, gods, buildings, and other objects, all intended to be ritually burned. With a fine collection of illustrations and authoritative text.

Extraordinary photographs by one of China's most widely-exhibited contemporary artists, from a touring exhibition of his work. The first monograph on the artist to appear outside China.

MCKHT1
McKay, Alex ed: THE HISTORY OF TIBET. London, 2004. xxix, 624; xiii, 789; xiv, 737 pp. Maps. Bibliographies. 3 vols. 26x19 cm. Cloth.

A major three-volume history consisting of 126 articles by a total of 75 mainly western scholars. Volume 1: The Early Period to AD 850: The Yarlung Dynasty, contains in-depth studies on the least-known period of Tibetan history. Volume 2: The Medieval Period c. 850-1895: The Development of Buddhist Paramountcy, will become a standard reference book for every Tibetanist. Volume 3: The Modern Period 1895-1959: The Encounter with Modernity, is of interest not only to specialists but to a general audience wishing to learn more about the nation and its people. Only available as a set.

MCLGF1
McLean, Brenda: GEORGE FORREST. Plant Hunter. Woodbridge, 2004. 239 pp. Numerous colour and b/w illustrations. 28x22 cm. Cloth, dustjacket.

A good work that sheds much light on the little-known plant hunter of the early 20th century - George Forrest. He travelled in China from 1904 onwards undertaking a total of seven expeditions in the remote regions of Yunnan and the Sino-Himalayan mountains. Forrest introduced hundreds of new plants to cultivation. Tells of his many adventures and escapades.

MILNQ1
Millward, James A. et al: NEW QING IMPERIAL HISTORY. The Making of Inner Asian Empire at Qing Chengde. London, 2004. xviii, 245 pp. plus 2 pp. b/w maps and 13 pp. b/w plates. 24x16 cm. Cloth.

Uses the Manchu summer capital of Chengde and associated architecture, art and ritual activity as the focus for an exploration of the importance of Inner Asia and Tibet to the Qing Empire.

NEES72
Needham, Joseph; Robinson, K. ed: SCIENCE AND CIVILISATION IN CHINA VII:2. Reflections and Conclusions. Cambridge, 2004. li, 283 pp. 21 halftones. 3 tables. 25x19 cm. Cloth.

In the concluding volume of the series, Needham reflects on why the scientific and industrial revolutions did not happen in China. Gives possible answers to this question and provides many fascinating insights.

QIAAR1
Qiang Ning: ART, RELIGION, AND POLITICS IN MEDIEVAL CHINA. The Dunhuang Cave of the Zhai Family. Honolulu, 2004. xv, 178 pp. 110 illustrations, 17 in colour. 24 cm. Cloth.

A study of the Dunhuang cave-temple complex focussing on a particular cave patronised by the Zhai family and thus revealing a wealth of information about medieval China, especially the interrelationships implicit in the book's title.

MOS041
Sydney L. Moss Ltd: OUTSIDE THE BOX. London, 2004. 170 pp. 100 objects illustrated in colour. 29x22 cm. Cloth.

100 selected masterpieces of netsuke, inro, ojime, pipecases and a group of lacquer boxes. Well-illustrated in colour and with good descriptions.

TAKAP1
Takeuchi, Melinda ed: THE ARTIST AS PROFESSIONAL IN JAPAN. Stanford, 2004. xvi, 262 pp. 60 illustrations. Glossary, bibliography, index. 27x19 cm. Cloth.

In a collection of scholarly case studies, this book addresses the question of what it meant to be a sculptor, painter, potter, printmaker, and architect in Japan from the 7th century to the 20th.

A superbly illustrated volume by the holder of one of the largest collections of Islamic weaponry in the world - including accessories and related art work, along with the weapons themselves, from this private collection, the majority of which is previously unpublished. Amounts to a comprehensive guide and reference to the subject. Available shortly.

WIMWW1
Wimmel, Kenneth: WILLIAM WOODVILLE ROCKHILL. Scholar-Diplomat of the Tibetan Highlands. London, 2003. xv, 238 pp. 13 illustrations. 25 cm. Cloth.

Rockhill was the first American to be fluent in Tibetan and one of the first westerners to be hosted by the Dalai Lama. This biography provides a good view of Rockhill's multifaceted career as a diplomat and pioneering scholar in the field of Tibetan studies.

WU0BP1
Wu Hung and Christopher Phillips ed: BETWEEN PAST AND PRESENT. New Photography and Video from China. Gottingen, 2004. 224 pp. Numerous colour and b/w plates. 28x23 cm. Cloth.

Catalogue accompanying an exhibition of the work of sixty Chinese artists - the first comprehensive, interpretative study of a remarkable body of recent artwork. Held at the Smart Museum of Art, Chicago, and then the International Centre of Photography, New York.

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