Here are tricks for creating cutting-edge interior design from tile original style setter at New York's trendsetting ABC Carpet & Home. The recent issue of Metropolitan Home magazine featured a New York apartment furnished with beautiful finds scavenged from flea markets. America has developed a yen for the vintage. Whether covering an entire wall with a salon-style arrangement of pictures creating the "attic" look; throwing together a grand canopied bed faked with gilded molding and draperies to evoke thc "exotic"; or choosing to go "spare" by displaying carefully selected objects, including old tools, glass boxes, or botanical prints, style setter Rebecca Purcell shows how anyone can create expressive rooms that make a statement. Full-color photographs in each chapter show how these fabulous styles were produced in different homes. Chapters include do-it-yourself projects for finishing touches, including tassels, aging fabrics and metals, valances and draperies, wall washing and stenciling, picture matting, and more.
The Palace of Eternal Joy (Yongle gong) is a mammoth cult site dedicated to one of late imperial China’s most popular deities, Lu Dongbin. In one of the first book-length studies of a Chinese sacred site, Paul Katz focuses on the Palace’s role in the development of Lu's legend. This highly innovative approach takes into account the various "histories" of the Palace presented in different texts and surpasses previous scholarship by stressing the ways in which the site both reflected and produced cultural diversity. Katz breaks new ground by analyzing the texts in terms of the textuality--the processes by which they were produced, transmitted, and understood. The study begins with a detailed description of the Palace of Eternal Joy and a brief account of its history. The reader is then introduced to the cult of Lu Dongbin. Special consideration is given to various hagiographical traditions, particularly those that influenced the growth of his cult at Yongle. Throughout late imperial China, a growing number of worshipers (among them scholar-officials, Taoist priests, artisans, and dramatists) created an ever-burgeoning variety of images of Lu, ranging from a patron god of ink-makers and prostitutes to a member of that powerful yet rambunctious group of spirits known as the Eight Immortals. In this context, the author explores the Perfect Realization Taoist movement's adoption of Lu's cult during the Jin and Yuan dynasties and highlight the social and religious factors that led to Lu's immense popularity in north China during the late imperial era. Katz next looks at the four type of inscriptions found at the Palace (commemorative, official, hagiographical, and poetic) and identifies the Palace patrons who worshiped there and contributed to its growth. In the description and analysis of the Palace murals that follow, he divides these works into two types: those painted to provide a setting for, and even an object of, Taoist rituals performed at the Palace; and those used to instruct Perfect Realization Taoists and perhaps pilgrims. The final section traces the reception of the Palace texts among the people of Yongle and its environs. Here Katz examines the ways in which patrons tried to impose their representations of the Palace’s history and the cult of Lu Dongbin on other members of the community and assesses the extent to which these efforts succeeded. Images of the Immortal is richly informed by a wide reading in social, cultural, and literary theory as well as a thorough awareness of previous work in comparative and Chinese religion. Scholars of Taoism, Chinese popular religion, and art history will find it especially rewarding for its thought-provoking reinterpretation of an important religious figure and his cult.
The present volume, first published at the close of World War II, and based on a series of articles on initiation originally written between 1932 and 1938 for Le Voile d'Isis (later renamed Études Traditionnelles), is unique in giving a comprehensive account both of the conditions of initiation and of the characteristics of organizations qualified to transmit it. Guénon's distinction between the initiatic and the mystical paths-the first requiring a formal relationship with a master, a set of specific contemplative techniques, and a chain-of-transmission stretching back to the origin of the tradition in question, the second generally lacking these elements-led to some controversy between those who accept this distinction and others who believe that initiatory and mystical spirituality are one and the same. The book presents such central principles as the dangers and barrenness of syncretism, the often dire consequences of fostering 'psychic powers', and the superiority of sacerdotal initiation (into the Greater Mysteries) over 'royal' initiation (into the Lesser Mysteries), though both are necessary parts of the initiatic path. This last point precisely defines the rift between Guénon and Julius Evola, whose elevation of royal initiation over sacerdotal must be seen, according to Guénon's criteria, as a modern-day echo of the ancient revolt of the warrior caste against the priestly one. Whoever follows Guénon's argument will realize that a romantic warrior mysticism held no fascination for him, and is in fact explicitly contrary to his principles. But pre-eminently, Perspectives on Initiation provides indispensable points of reference for anyone attempting to distinguish between 'initiatic', 'pseudo-initiatic', and 'countert-initiatic' spiritualities in these profoundly uncertain times.
Spanning some 7000 years, 'Chinese Sculpture' explores a beautiful and diverse world of objects, many of which have only come to light in the later half of the 20th century. The authors analyse and present, mostly in colour, some 500 examples of Chinese sculpture.
Translations of the Yi jing into western languages have been biased towards the yili ('meaning and pattern') tradition, whereas studies of the xiangshu ('image and number') tradition - which takes as its point of departure the imagery and numerology associated with divination and its hexagrams, trigrams, lines, and related charts and diagrams - has remained relatively unexplored. This major new reference work is organised as a Chinese-English encyclopedia, arranged alphabetically according to the pinyin romanisation, with Chinese characters appended. A character index as well as an English index is included. The entries are of two kinds: technical terms and various other concepts related to the 'image and number' tradition, and bio-bibliographical information on Chinese Yi jing scholars. Each entry in the former category has a brief explanation that includes references to the origins of the term, cross-references, and a reference to an entry giving a more comprehensive treatment of the subject.
Soft Living Architecture explores the invention of new architectures based on living processes. It crafts a unique intersection between two fast-developing disciplines: biomimicry and biodesign in architecture, and bioinformatics and natural computing in the natural sciences. This is the first book to examine both the theory and methodology of architecture and design working directly with the natural world. It explores a range of approaches from the use of life-like systems in building design to the employment of actual growing and living cell and tissue cultures as architectural materials - creating architecture that can change, learn and grow with us. The use of 'living architecture' is cutting-edge and speculative, yet it is also inspiring a growing number of designers worldwide to adopt alternative perspectives on sustainability and environmental design. The book examines the ethical and theoretical issues arising alongside case-studies of experimental practice, to explore what we mean by 'natural' in the Anthropocene, and raise deep questions about the nature of design and the design of nature. This provocative and at times controversial book shows why it will become ever more necessary to embrace living processes in architecture if we are to thrive in a sustainable future.
