This book presents over 700 Chinese motifs, showcasing 35 outstanding works inspired by Peking Opera, Paper Cutting, Animal Motifs and Auspicious Motifs, etc. Well-known designers were invited to share their design inspiration and experience concerning Chinese motifs to offer an insight into traditional Chinese culture. CD-ROM (1. The facial make-up in Chinese opera, 2. Chinese paper cutting, 3. New year painting, 4. The auspicious pattern, 5. The animal motif, 6. Plants and flowers motif).--
An astonishing collection of graphics, uncovered from long- forgotten sources, mostly in China itself. From posters and advertisements to book covers and magazines, this book presents a dazzling panoply of modern graphic design in China. Beginning with the basic traditions of Chinese graphics, the authors show how the writer and artist Lu Xun became the center of cultural revival in the new China. We see Art Deco coming to China in the Shanghai Style, and the birth of a dynamic national design style, born of Russian Constructivism and China’s own drive for new technology. The Socialist Realist art of Mao in turn adopted folk art traditions to fuel the Revolutionary machine, while the continuing search for a new identity can be seen in the graphic images of protest from the summer of 1989.
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.
For centuries China has fueled the creative imagination and inspired fashion. This stunning publication explores the influence of Chinese art, film, and aesthetics on international fashion designers, including Christian Dior, Jean Paul Gaultier, Karl Lagerfeld, Alexander McQueen, and Yves Saint Laurent.
This gorgeously produced book reveals the hidden meaning behind motifs in Chinese decorative arts. When any Westerner looks at Chinese art, it is immediately apparent how much the depiction of animal and plant life differs from its American or European equivalent. This exceptional world teems with flowers, trees, birds, fish, shellfish, and insects, mixed with fantastic creatures or figures taken from legend and mythology. Various motifs can appear together in one scene, and if the viewer understands the language, the images are charged with symbolism. This absorbing study explores the rich symbolic language of exquisite works in ceramic, jade, lacquer, glass, and silk from the world-renowned Baur Collection.
This book continues the discussion from Volume 1 on the general considerations regarding global changes and contemporary economic issues in Asian countries in real terms. It offers a collection of original conference papers from the annual international conferences on “Contemporary economic issues in Asian countries” (CEIAC Conference) commenced in 2022 in collaboration with CIFOR-ICRAF, Sungkyunkwan University (Korea), and Tamkang University (Taiwan). The theme of the CEIAC Conference 2022 deals with broad aspects of the contemporary economic issues in Asian countries. It covers topics such as economics and business (economic theory, national and international income distribution, macroeconomic policies, sectors of economy, productivity developments, financial market, business governance, bank financing, etc.), green economy and sustainable development (developing process, development policy, public policy, sustainable growth, green growth, etc.), and international trade and investment (international trade theory, free trade agreements, tariffs, intellectual property, international law, etc.). The book would interest a wide array of professors, researchers, lecturers, students in fields of economics, consultants, and decision makers interested in the issues related to economic issues in Asia.
Contemporary Chinese Furniture Design is the first definitive book on contemporary Chinese furniture, introducing the work of leading designers and design studios, including Chen Darui, Jerry Chen, Frank Chou, Hou Zheng–Guang, Hong Wei, Ma Yansong, Neri & Hu, Shao Fan, Shang Xia, Song Tao, Studio MVW, Xiao Tianyu and Zhang Zhoujie. It explains how the 'New Wave' of Chinese furniture designers are looking back to their cultural roots and revitalizing traditional forms, materials and techniques in order to produce interesting and exciting contemporary furniture that is 100% Chinese. The first definitive book on contemporary Chinese furniture design, which includes not only an in–depth analysis of historic Chinese furniture design in its introduction, but importantly relates the past to what is happening now in Chinese furniture design. Includes individual entries, many based on in–depth interviews with leading figures within the Chinese furniture design, that provide insightful personal perspectives on the rapid evolution of Chinese furniture design over the last decade or so. The publication of this book marks the twenty–fifth anniversary of the Furniture China expo. "Featuring over 400 exemplary works representative of the new wave of creativity in modern Chinese furniture design. Channeling the spirit of the Song and Ming dynasties, as well as other Chinese styles and themes, the designs express a 21st Century Sinocentric national romanticism." – China.org.cn An excerpt from the book: "Since the mid–1990s a definable movement in contemporary Chinese furniture design has been growing and evolving, and has now reached such creative critical mass that it is possible to speak of it enjoying a 'moment'. The publication of this book is intended to share this remarkable design story with the wider world, while introducing the work and ideas of its leading protagonists. The exceptional quality and innovation of the furniture associated with what has already become known as 'New Chinese Design' will undoubtedly set in motion a significant reappraisal of contemporary Chinese design in general. But what is more, this extraordinary development may initiate the tipping of the balance of international design influence from West to East, such is its astonishing creative vitality and snowballing momentum."
During America's Gilded Age (dates), the country was swept by a mania for all things Japanese. It spread from coast to coast, enticed everyone from robber barons to street vendors with its allure, and touched every aspect of life from patent medicines to wallpaper. Americans of the time found in Japanese art every design language: modernism or tradition, abstraction or realism, technical virtuosity or unfettered naturalism, craft or art, romance or functionalism. The art of Japan had a huge influence on American art and design. Title compares juxtapositions of American glass, silver and metal arts, ceramics, textiles, furniture, jewelry, advertising, and packaging with a spectrum of Japanese material ranging from expensive one-of-a-kind art crafts to mass-produced ephemera. Beginning in the Aesthetic movement, this book continues through the Arts & Crafts era and ends in Frank Lloyd Wright's vision, showing the reader how that model became transformed from Japanese to American in design and concept. Hannah Sigur is an art historian, writer, and editor with eight years' residence and study in East and Southeast Asia. She has a master's degree from the Institute of Fine Arts, New York University, and is completing a PhD in the arts of Japan. Her writings include co-authoring A Master Guide to the Art of Floral Design (Timber Press, 2002), which is listed in "The Best Books of 2002" by The Christian Science Monitor and is now in its second edition; and "The Golden Ideal: Chinese Landscape Themes in Japanese Art," in Lotus Leaves, A Master Guide to the Art of Floral Design (2001). She lives in Berkeley.
Challenging the notion that fashion and furniture were or are separate enterprises and distinct material aesthetic traditions, this collection focuses on three material and conceptual links central to understanding the relationship between interior design and fashion-the body, fabric, and space. The volume considers the changing visual, material and spatial character, methodological challenges posed by, and formal, political and historiographical significance of, a wide range of British, European and North American case studies since the eighteenth century. The volume's eleven case studies allow the reader to understand connecting notions behind the formation of interiors and fashionable clothing. The essays combine a wide range of significant and challenging new examples alongside powerful reversionary analyses of the various periods, artists, designers, and their best and significant objects. Fashion, Interior Design and the Contours of Modern Identity is concerned not only with fabric, but also with the body and the implications of embodiment in the practices of both design domains which are equally invested in the comfort, aesthetic pleasure, extension and support of the body in different and yet seemingly identical ways.
Among the most revered and beloved artworks in China are ceramics—sculptures and vessels that have been utilized to embellish tombs, homes, and studies, to drink tea and wine, and to convey social and cultural meanings such as good wishes and religious beliefs. Since the eighth century, Chinese ceramics, particularly porcelain, have played an influential role around the world as trade introduced their beauty and surpassing craft to countless artists in Europe, America, and elsewhere. Spanning five millennia, the Metropolitan Museum’s collection of Chinese ceramics represents a great diversity of materials, shapes, and subjects. The remarkable selections presented in this volume, which include both familiar examples and unusual ones, will acquaint readers with the prodigious accomplishments of Chinese ceramicists from Neolithic times to the modern era. As with previous books in the How to Read series, How to Read Chinese Ceramics elucidates the works to encourage deeper understanding and appreciation of the meaning of individual pieces and the culture in which they were created. From exquisite jars, bowls, bottles, and dishes to the elegantly sculpted Chan Patriarch Bodhidharma and the gorgeous Vase with Flowers of the Four Seasons, How to Read Chinese Ceramics is a captivating introduction to one of the greatest artistic traditions in Asian culture.
