In celebration of the Chinese New Year, also known as the Lunar New Year on the traditional lunisolar Chinese Calendar, explore this selection of titles, videos, and music!
Welcome to the year of the Tiger!
Living the Lunar Calendar by
Lunar calendars suffer from an inherent uncertainty in the length of each month and the number of months in the year. Variable atmospheric conditions, weather and the acuity of the eye of an observer mean that the first sighting of the new moon crescent can never be known in advance. Calendars which rely on such observations to define the beginning of a new month therefore suffer from this lack of certainty as to whether a month will begin on a given day or the next. The papers in this volume address the question of how ancient and medieval societies lived with the uncertainties of a lunar calendar. How did lack of foreknowledge of the beginning of the month impact upon administration, the planning of festivals, and historical record keeping? Did societies replace the observation of the new moon crescent with schematic calendars or calendars based upon astronomical calculations and what were the ideological and practical consequences of such a change? The contributors to this volume address these topics from the perspectives of a variety of Ancient Near Eastern, Jewish, Ancient and Medieval European, Asian and American cultures.
The Zoomorphic Imagination in Chinese Art and Culture by
China has an age-old zoomorphic tradition. The First Emperor was famously said to have had the heart of a tiger and a wolf. The names of foreign tribes were traditionally written with characters that included animal radicals. In modern times, the communist government frequently referred to Nationalists as "running dogs," and President Xi Jinping, vowing to quell corruption at all levels, pledged to capture both "the tigers" and "the flies." Splendidly illustrated with works ranging from Bronze Age vessels to twentieth-century conceptual pieces, this volume is a wide-ranging look at zoomorphic and anthropomorphic imagery in Chinese art. The contributors, leading scholars in Chinese art history and related fields, consider depictions of animals not as simple, one-for-one symbolic equivalents: they pursue in depth, in complexity, and in multiple dimensions the ways that Chinese have used animals from earliest times to the present day to represent and rhetorically stage complex ideas about the world around them, examining what this means about China, past and present. In each chapter, a specific example or theme based on real or mythic creatures is derived from religious, political, or other sources, providing the detailed and learned examination needed to understand the means by which such imagery was embedded in Chinese cultural life. Bronze Age taotie motifs, calendrical animals, zoomorphic modes in Tantric Buddhist art, Song dragons and their painters, animal rebuses, Heaven-sent auspicious horses and foreign-sent tribute giraffes, the fantastic specimens depicted in the Qing Manual of Sea Oddities, the weirdly indeterminate creatures found in the contemporary art of Huang Yong Ping--these and other notable examples reveal Chinese attitudes over time toward the animal realm, explore Chinese psychology and patterns of imagination, and explain some of the critical means and motives of Chinese visual culture. The Zoomorphic Imagination in Chinese Art and Culture will find a ready audience among East Asian art and visual culture specialists and those with an interest in literary or visual rhetoric. Contributors: Sarah Allan, Qianshen Bai, Susan Bush, Daniel Greenberg, Carmelita (Carma) Hinton, Judy Chungwa Ho, Kristina Kleutghen, Kathlyn Liscomb, Jennifer Purtle, Jerome Silbergeld, Henrik Sørensen, and Eugene Y. Wang.
A Geek in China by
For every fan of kung fu, steamed dumplings, Confucius and giant skyscrapers, A Geek in China is a hip, smart and concise guide to the Middle Kingdom Packed with photographs and short articles on all aspects of Chinese culture, past and present, A Geek in China introduces readers to everything from Taoism and Confucianism to pop music and China's new middle class. A mix of traditional culture, such as highlights of Chinese history, great historical and mythological figures, traditional medicine, how the Chinese language works, real Chinese food, martial arts, and how the Chinese Communist Party works, is complimented with information on what makes China unique today. Chapters discuss why China is so crowded, what it's like to work in an office, internet and cell phone culture, dating and marriage practices, top popular movies and movie stars, the contemporary art scene, China's amazing new architecture and infrastructure, and popular holidays. It also contains chapters on what makes the Chinese tick, such as the importance of harmony in society, the practice of humility, and the importance of hierarchy. For visitors to the country, the author includes sections on what to see, both common cultural sites and off-the-beaten-track sites.
The Art of Resistance by
The Art of Resistance surveys the lives of seven painters--Ding Cong (1916-2009), Feng Zikai (1898-1975), Li Keran (1907-89), Li Kuchan (1898-1983), Huang Yongyu (b. 1924), Pan Tianshou (1897-1971), and Shi Lu (1919-82)--during China's Cultural Revolution (1966-1976), a time when they were considered counterrevolutionary and were forbidden to paint. Drawing on interviews with the artists and their families and on materials collected during her visits to China, Shelley Drake Hawks examines their painting styles, political outlooks, and life experiences. These fiercely independent artists took advantage of moments of low surveillance to secretly "paint by candlelight." In doing so, they created symbolically charged art that is open to multiple interpretations. The wit, courage, and compassion of these painters will inspire respect for the deep emotional and spiritual resonance of Chinese art. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/art-of-resistance
The Power of Stars by
What are some of the connections that bind us to the stars? How have these connections been established? And how have people all around the world and throughout time reacted to the night sky, the sun and moon, in their poetry, mythology, rituals, and temples? This book explores the influence of the sky on both ancient and modern civilization, by providing a clear overview of the many ways in which humans have used the stars as an ordering principle in their cultures, and which today still inspire us intellectually, emotionally, and spiritually. The book explores constellation lore from around the world, celestial alignments of monuments and temples, both from ancient and modern civilizations, and the role the sky has played in the cultures of the Greek, Egyptian, Babylonian, Native American, Chinese, Mayan, Aztec, and Inca. Models of the universe from each of these cultures are described clearly, and each culture's explanation of the stars, planets, and other celestial objects are described. The roots of astronomy and astrology are presented with original imagery and reproductions of ancient manuscripts that portray the structure of the physical universe as conceived by a diverse array of human cultures over the centuries. Our own scientific Big Bang cosmology and the origin of stars and elements are discussed in a philosophical context, to explore how we as modern people learn about the Universe, and incorporate the findings of science into our world views. A concluding chapter provides a summary of modern science's effort to unlock the celestial secrets from the sky and from past civilizations, and what these answers mean for us today.
The Spirit of the Brush by
Artist and teacher Sungsook Setton, who learned the techniques of Chinese ink painting with Chinese and Korean masters in her native South Korea, brings new excitement to this age-old art.
The Body at Stake by
This publication enquires into the role and treatment of the body in the visual culture of contemporary China. What meanings are assigned to the body in artistic practice, what does it represent and what (hi)stories does it refer to? Considerable importance is ascribed to the body as a means of orientation and placement; as an arena and medium of social experience. 19 Chinese artists, theatre practitioners and theorists describe their personal experiences, put their thoughts and views up for discussion and explore how art can shed light on the individual and collective experiences that emerge in the wake of historical change and the anticipation of a newly won freedom.
Gods and Goddesses of Ancient China by
This authoritative volume examines the two main faiths, Confucianism and Daoism, that developed before China had meaningful contact with the rest of the world. Aspects of Buddhism later joined features of these faiths to form elements of Chinese ideology
The Moon and Madness by
Lunacy, the legendary notion of minds unhinged by the moon, continues to captivate the popular imagination. Although it violates the assumptions of modern science and psychiatry, such belief remains common among mental health workers. Furthermore, several studies have found a small, unexplained correlation between behaviour and the lunar cycle. The book is divided into two parts. It begins with a historical account of the lunacy concept, followed by an investigation of hypothetical mechanism...
Willow, Wine, Mirror, Moon by
This collection of 106 poems by 44 female Tang-era poets is the most comprehensive of its kind. Poets are organized based on their status in Tang dynasty society: women of the court, women of the household, courtesans and entertainers, and women of religion. While each poet's concerns vary with their social status, common thematic threads include heartbreak and the mysteries of the natural world. Thumbnail biographies of each poet and notes regarding individual poems complete this important collection. Jeanne Larsen has published poetry, three novels set in China, and a book of poetry translation, Brocade River Poems: Selected Works of the Tang Dynasty Courtesan Xue Tao. She teaches in the creative writing program at Hollins University in Roanoke, Virginia.
Art As History by
This richly illustrated book provides an anthology and summation of the work of one of the world's leading historians of Chinese painting and calligraphy. Wen Fong helped create the field of East Asian art history during a distinguished five-decade career at Princeton University and the Metropolitan Museum of Art. Few if any writers in English have such a broad knowledge of the history and practice of Chinese painting and calligraphy. In this collection of some of his most recent essays, Fong gives a sweeping tour through the history of Chinese painting and calligraphy as he offers new and revised views on a broad range of important subjects. The topics addressed include "art as history," in which each art object preserves a moment in art's own significant history; the museum as a place of serious study and education; the close historical relationship between calligraphy and painting and their primacy among Chinese fine arts; the parallel development of representational painting and sculpture in early painting history; the greater significance of brushwork, seen abstractly as a means of personal expression by the artist, in later painting history; the paradigmatic importance of the master-to-follower lineage as a social force in shaping the continuity and directing the subtle changes in Chinese painting history; the role of collectors; and the critical necessity of authenticated works for establishing an accurate art history. Throughout the book, Fong skillfully combines close analysis and detailed contextualization of individual works to reveal how the study of Chinese painting and calligraphy yields deep insights about Chinese culture and history.
Ai Weiwei by
Ai Weiwei (b. 1957) is truly an artist for the twenty-first century. In his sculptures he refashions artefacts and antiques into surprising, sometimes monumental constructions such as Template (2007): hundreds of wooden doors and windows taken from demolished Ming and Qing dynasty temples and arranged into a massive outdoor sculpture. As much as these materials look to the past, they also speak of the present, because never before (and probably never again) have they been available in such abundance. Like his benches carved from centuries-old temple beams, Template is a sly commentary on the speed with which China's building boom is obliterating its past. (When Template collapsed in a rainstorm two weeks after its unveiling at Documenta 12, the artist embraced its demise as a clever artistic twist.) In China today, making art that's critical of current cultural and economic policies is not a particularly safe career move. But Ai's father, the poet Ai Qing, walked a similar path, absorbing European avant-garde styles while studying in 1930s Paris and later standing by them in the face of Communist opposition, a move that eventually led to his exile to the distant provincial town where his son Weiwei came to be born and raised. In the late 1970s Ai Weiwei moved to Beijing, banding together with other pro-democracy artists in a loose collective known as the Stars Group. In 1981, following government retaliation against one of their exhibitions, Ai moved to New York, where he attended art school and lived the life of the bohemian for twelve years, his East Village apartment serving as a base for countless visiting Chinese artists. When his father became ill in 1993 Ai returned to China, settling in Beijing and finally taking up his art career in earnest. Weiwei's artistic forebears belong primarily to the Western modernist avant-garde (Duchamp and Beuys are particularly relevant). But Ai has equally and increasingly been influenced by modernist architecture and contemporary urban planning, citing the need for an ideal for living in a country where runaway economic development has shown little regard for the everyday life of the individual. In stark contrast to the glass-and-steel high-rises going up around Beijing, the art galleries, ateliers and homes Ai designs are boxy and modest, made from brick and other vernacular materials. Their resolution of Eastern and Western styles is a fitting parallel to his antique readymade sculptures. What truly marks out Ai as a twenty-first century artist is the multiplicity of his roles: not just artist, designer and architect but also curator, publisher, web blogger and compass for an entire generation of Beijing artists. He has been described more than once as the Chinese Warhol, overseeing a factory-like studio (Fake) with dozens of assistants engaged in countless projects in a range of disciplines. And indeed his outsize public persona is an inseparable part of his art. It should come as no surprise that when Herzog & de Meuron came to Beijing to conceive of a new stadium for the 2008 Olympics, Ai was the one who provided them with a design concept: an interlaced form based on the woven baskets his wife collects at local antique markets. At a time when the West is finally discovering Chinese contemporary art, Ai is one of the few to have transcended the label 'Chinese artist'. In part thanks to his gallery Urs Meile (Lucerne and Beijing), Ai has won the support of strong European collectors. His work is increasingly being shown at major venues around the world (Kunsthalle Bern, Kunsthaus Graz, Tate Liverpool) and included in major international exhibitions (the Moscow Biennial, the Guangzhou Triennale, Documenta). A complex, multi-faceted artist, Ai is poised to make a deep impact on contemporary art far beyond China's borders. Ai Weiwei is represented by Galerie Urs Meile, Lucerne and Beijing.
The Year of the Rabbit by
Say hello to Rosie, a rascally rabbit with an enormous ear for adventure. Rosie is a funny bunny whose journey celebrates the new year. Born with very long ears, Rosie also has great sense for adventure. She wants new sights to see and plants to taste. After getting caught "visiting" a nearby vegetable garden, Rosie befriends the boy Jai. As other animals learn that she is an unusual bunny, will Rosie ever find that her ears come in handy? Enjoy this hare-raising tale! 2011 was the Year of the Rabbit! Illustrating expressive characters and vibrant action, artist Justin Roth creates an inviting new world for readers to explore.Tales from the Chinese Zodiac is a popular annual children's book series showcasing the twelve charming animals that embody the Chinese New Year. Rosie's high hops to find her true talents will delight children and adults alike. Kids love identifying with how each animal embarks on a unique quest to discover his or her own character: Bright and dynamic illustrations will appeal to parents, those interested in Asian culture, and, of course, dog lovers. Teachers appreciate howTales from the Chinese Zodiac is the only English series on each of the animals of the Chinese lunar calendar. Librarians like how it one of the longest-running children's book series featuring Asian American themes. Now readers everywhere can enjoy these entertaining and original tales. "this book is my favorite from the series... I fell in love with Justin Roth's artwork. Rosie the rabbit is just adorable, and her rabbit family and friends are just as cute." - Supah Cute
Celebrate Chinese New Year by
Children have never had so many reasons to learn how Chinese people everywhere ring in the new and ring out the old. As China takes its new place on the global stage, understanding Chinese culture and values becomes ever more essential to our next generation. For two joyous weeks red is all around. The colour represents luck and happiness. Children receive money wrapped in red paper, and friends and loved ones exchange poems written on red paper. The Chinese New Year is also an opportunity to remember ancestors, and to wish peace and happiness to friends and family. The holiday ends with the Festival of Lanterns, as many large communities stage the famous Dragon Dance. Fireworks, parades, lanterns, presents, and feasts: these are some of the joys experienced by all who observe Chinese New Year. Celebrate Chinese New Year is the latest, timely addition to National Geographic's popular Holidays Around the World series. With 25 colourful images and a simple, educational text, the book is a lively invitation to revel in this child-friendly, national and international holiday. Carolyn Otto brings the historical and cultural aspects of the Chinese New Year into focus, and young readers experience the full flavour of an event celebrated by over a billion people in China, and countless others worldwide. National Geographic supports K-12 educators with ELA Common Core Resources. Visit www.natgeoed.org/commoncore for more information.
Chinese New Year's Dragon by
A festive account of one family's Chinese New Year celebration. A little girl describes the preparations--everything from cleaning and shopping to food preparation and gifts--leading up to a magical Lunar New Year. In one dreamy sequence, the girl imagines herself in Ancient China, riding on a dragon, and watching the celebration unfold.
Chinese New Year by
Explores the history, people, and culture behind Chinese New Year and features eight fun activities.
The Year of the Dog by
This funny and profound debut novel by prolific illustrator Lin tells the story of young Pacy who, as she celebrates the Chinese New Year with her family, discovers this is the year she is supposed to "find herself." Illustrations.
Chinese Religious Traditions by
This book provides an introduction to the history of religion in China and its contours in China and Taiwan today, focusing on four religious traditions: Confucianism, Taoism, Buddhism, and popular religion. It covers not only religious and ethical ideas but also the practices of each tradition. Readers will become familiar with common themes that weave themselves through the history of Chinese religion to the present day--such as ancestor worship, sacrifice, and divination--and gain an understanding of the ways in which religion has responded to and influenced political and cultural change in China. For individuals interested in the history of China and its religions.
Chinese Mythology by
"This slim book offers high visual interest along with concise introductions to an important body of myths. . . . Full-page and vignette illustrations in traditional style with strong ink lines emphasize vitality and movement. Chen's evocative and richly colored paintings add value to this compact edition."--School Library Journal
Popular Religion in China by
The institution of local festivals and temples is not as well known as that of ancestor worship, but it is just as much a universal fact of Chinese life. Its content is an imperial metaphor, which stands in relation to the rest of its participants' lives as the poetry of collective vision, theatrically performed, built and painted in temples, carved and clothed in statues. Stephan Feuchtwang has brought together unpublished as well as published results of his own and other anthropologists' fieldwork in the People's Republic of China and Taiwan and put them into an historical, political and theoretical context. Students of anthropology will be intrigued. This is not a religion of a Book. Nor is it one of the named religions of China. Popular religion includes some elements of both Buddhism and the former imperial cults, more of Daoism, but it is identifiable with none of them. It is popular in the sense of being local and true of the China of the Han, or Chinese-speaking people, where every place had or has its local cults and the festivals peculiar to them. Its rites, in particular offerings of incense and fire, suggest a concept of religion. It is quite different from theories of religion based on doctrine and belief. Students of politics will also find here vital and new perspectives. Politics is never far from religion, least of all in the People's Republic of China or colonial and post-colonial Taiwan. In the People's Republic of China, there is continuing conflict between the state and the growth of congregational and lo
Demon Hordes and Burning Boats by
Provides a lively description of how the cult of a popular plague-fighting deity named Marshal Wen arose and spread in late imperial China.
Confucianism As a World Religion by
Is Confucianism a religion? If so, why do most Chinese think it isn't? From ancient Confucian temples, to nineteenth-century archives, to the testimony of people interviewed by the author throughout China over a period of more than a decade, this book traces the birth and growth of the idea of Confucianism as a world religion. The book begins at Oxford, in the late nineteenth century, when Friedrich Max Müller and James Legge classified Confucianism as a world religion in the new discourse of "world religions" and the emerging discipline of comparative religion. Anna Sun shows how that decisive moment continues to influence the understanding of Confucianism in the contemporary world, not only in the West but also in China, where the politics of Confucianism has become important to the present regime in a time of transition. Contested histories of Confucianism are vital signs of social and political change. Sun also examines the revival of Confucianism in contemporary China and the social significance of the ritual practice of Confucian temples. While the Chinese government turns to Confucianism to justify its political agenda, Confucian activists have started a movement to turn Confucianism into a religion. Confucianism as a world religion might have begun as a scholarly construction, but are we witnessing its transformation into a social and political reality? With historical analysis, extensive research, and thoughtful reflection, Confucianism as a World Religion will engage all those interested in religion and global politics at the beginning of the Chinese century.
Tao Te Ching by
Written during the golden age of Chinese philosophy, and composed partly in prose and partly in verse, the Tao Te Ching is surely the most terse and economical of the world's great religious texts. In a series of short, profound chapters it elucidates the idea of the Tao, or the Way-an idea that in its ethical, practical, and spiritual dimensions has become essential to the life of China's enormously powerful civilization. In the process of this elucidation, Lao-tzu both clarifies and deepens those central religious mysteries around which our life on earth revolves. Translation of the Ma Wang Tui Manuscripts by D. C. Lau
Chung-kuo chin tai shih ts'an k'ao t'u lu, 1840-1919 by The folk-lore of China, and its affinities with that of the Aryan and Semitic races by Traditional Chinese Culture by
Written by esteemed academic and professor Zhang Qizhi, this book details the fundamentals of Chinese tradition, ranging from philosophy, ethics and humanities, dominant religions, historical relics, calligraphy, painting, medicine, science, health preservation, Chinese food, ancient architecture, and more.
Chinese fairy tales : legends of ancient times by
The greedy brother.--The bird with nine heads.--Why the dog and the cat are enemies.--The herd boy and the weaving maiden.--The miserly farmer.--The kindly magician.--Who was the sinner?--The flower elves.--The three evils.--The magic cask.
Anecdotes about Spirits and Immortals by
Anecdotes about Spirits and Immortals is a collection of myths, legends and stories that together is a Chinese folklore classic dating from the third century. the fantastic stories and legends that were popular during this time were compiled by Gan Bao, a historian of the Eastern Jin Dynasty (317-420). the breadth of imagination displayed in these stories has had a far-reaching impact on Chinese literature. A 2-volume set.
Moy Moy by
Summary: A little Chinese girl in Los Angeles participates in the celebration of the Chinese New Year.
The Origin of Chinese Deities by
China is a country with a long history and rich resources of national culture China's ancient history is the root of modern Chinsese culture. It is audible, visible and touchable. Through the ages, unique traditions have exerted an influence on the Chinese people's thinking and behaviour, Stories about gods, ghosts, fairies and spirits have merged in the course of social progress. This shows that China had developed its own national tradition in creating gods since ancient times. With abundant historical material and exhausitive studies over many years, the author provides a vivid and interesting account of the twentynine widely known and revered gods who influenced the lives of the Chinese people for many centuries. They include the Bodhisattva Guanyin, a goddess who helps the needy and relieves the distressed; Kitchen God, who is in charge of blessing the mortal King of Hell, sovereign of the ghost world; Jade Emperor, the highest ruler in heaven; and Jiang Taigong, who is responsible for granting titles to gods. Why and how are they enshrined and worshipped by the masses even by the rulers? This book gives the answers scientifically and objectively, thus presenting one aspect of the Chinese popular culture, This is helpful in the understanding of people's religious beliefs, and of achaeology, history, sociology, psychology, and folk literature.