Suchergebnisse

"The exquisite ceramic ware produced at the Imperial Porcelain Manufactory at Jingdezhen in southern China functioned as a kind of visual propaganda for the Qing dynasty (1644-1911) court. Through a detailed study of porcelain manufacture loosely structured around the career of the Manchu bannerman Tang Ying, who supervised ceramic production for the emperor, this volume considers the role of specialist officials in producing the technological knowledge and distinctive artistic forms that were essential to cultural policies of the Chinese state. Through fiscal management, technical experimentation, and design, these imperial technocrats facilitated rationalized manufacturing in precapitalist and preindustrial society. The volume draws on first-hand archaeological evidence from Jingdezhen, the foremost site of porcelain manufacture, as well as the voluminous Archive of the Imperial Handicraft Workshops to investigate a regional factory, the imperial design system, technological treatises, experiments deployed in porcelain manufacture, and court regulations. Grounded in methods for studying science and technology in society, as well as literary and art history, it contributes to scholarship on global empires and on the history of science and technology in China. In describing how the imperial state's intervention in industry has left a lingering imprint on modern China through its labor-intensive modes of production, the division of domestic and foreign markets, and a technocratic culture of centralization, it provides a new perspective for understanding the technology behind goods "made in China.""--

This book examines the rising global prominence of China's art market throughout the twentieth and twenty-first centuries. To understand the far-reaching impact of Chinese art on global consumption, this book traces the shift from regional markets to global markets. It asks how the Chinese art market re-emerged from its politicized past, innovated within the private economy boom, remained resilient despite the global financial crisis, and flourished on the global stage despite the COVID-19 pandemic. Ultimately, it argues that cultural entrepreneurship enabled Chinese art professionals to reinvent their space and to participate in the global artworld

This book explores dance and choreography as sites for the articulation of new theoretical and historical paradigms in inter-Asia cultural studies. It covers a range of dance works, artists, genres, and media, from Kathak to K-pop flash mob dance, Cold War diplomacy to avant-garde dance collaborations, and festival dance to dance on screen