Muutke küpsiste eelistusi

Picturing Heaven in Early China [Kõva köide]

  • Formaat: Hardback, 480 pages, kõrgus x laius: 254x175 mm, 131 line drawings, 161 halftones, 123 color illus., 4 tables
  • Sari: Harvard East Asian Monographs
  • Ilmumisaeg: 25-Jul-2011
  • Kirjastus: Harvard University, Asia Center
  • ISBN-10: 0674060695
  • ISBN-13: 9780674060692
  • Formaat: Hardback, 480 pages, kõrgus x laius: 254x175 mm, 131 line drawings, 161 halftones, 123 color illus., 4 tables
  • Sari: Harvard East Asian Monographs
  • Ilmumisaeg: 25-Jul-2011
  • Kirjastus: Harvard University, Asia Center
  • ISBN-10: 0674060695
  • ISBN-13: 9780674060692

Tian, or Heaven, had been used in China since the Western Zhou to indicate both the sky and the highest god. Examining excavated materials, Lillian Tseng shows how Han-dynasty artisans transformed various notions of Heaven—as the mandate, the fantasy, and the sky—into pictorial entities, not by what they looked at, but by what they looked into.



Tian, or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death.

Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven—as the mandate, the fantasy, and the sky—into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked into. Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge.

By examining Heaven as depicted in ritual buildings, on household utensils, and in the embellishments of funerary settings, Tseng maintains that visibility can hold up a mirror to visuality; Heaven was culturally constructed and should be culturally reconstructed.

Arvustused

This remarkable book readably represents a formidable effort of research, drawing on the rich studies of history, art, and paleography that have accumulated over centuries, and particularly on the last forty years of archeology. Lillian Lan-ying Tseng colligates images that no one earlier has studied side by side, and draws from them quite original conclusions. I find her arguments ambitious, ingenious, and persuasive. . . . They show once and for all that pictures are as important as verbal records for understanding the history of cosmology and astronomy. -- Nathan Sivin, Professor Emeritus of Chinese Culture and of the History of Science, University of Pennsylvania Picturing Heaven in Early China makes an extremely important contribution to the history of Chinese art, culture, and science. Its comprehensive scope and analytical depth, its confident use of both primary textual sources and archeological evidence, its lucid synthesis of a vast array of scholarly literature . . . and above all, its cogent narrative and conceptual scheme make it the most convenient and reliable go-to volume on the subject. -- Eugene Wang, Abby Aldrich Rockefeller Professor of Asian Art, Harvard University

Muu info

Nominated for James Henry Breasted Prize 2012 and Joseph Levenson Book Prize 2013.This remarkable book readably represents a formidable effort of research, drawing on the rich studies of history, art, and paleography that have accumulated over centuries, and particularly on the last forty years of archeology. Lillian Lan-ying Tseng colligates images that no one earlier has studied side by side, and draws from them quite original conclusions. I find her arguments ambitious, ingenious, and persuasive... They show once and for all that pictures are as important as verbal records for understanding the history of cosmology and astronomy. -- Nathan Sivin, Professor Emeritus of Chinese Culture and of the History of Science, University of Pennsylvania Picturing Heaven in Early China makes an extremely important contribution to the history of Chinese art, culture, and science. Its comprehensive scope and analytical depth, its confident use of both primary textual sources and archeological evidence, its lucid synthesis of a vast array of scholarly literature ... and above all, its cogent narrative and conceptual scheme make it the most convenient and reliable go-to volume on the subject. -- Eugene Wang, Abby Aldrich Rockefeller Professor of Asian Art, Harvard University
Acknowledgments ix
Tables and Figures
xi
Chronologies xxi
Introduction: Images and References 1(16)
Chapter 1 Constructing the Cosmic View
17(72)
Legitimacy and Politics
21(16)
Form and Symbol
37(33)
Ritual and Audience
70(19)
Chapter 2 Engraving Auspicious Omens
89(60)
Moralization
92(9)
Canonization
101(15)
Signification
116(16)
Perpetuation
132(17)
Chapter 3 Imagining Celestial Journeys
149(86)
Morality and Immortality
152(14)
The Journeys to Heaven
166(39)
The Gate of Heaven
205(30)
Chapter 4 Highlighting Celestial Markers
235(64)
The Cardinal Emblems
236(29)
The Milky Way
265(12)
The Sun and the Moon
277(22)
Chapter 5 Mapping Celestial Bodies
299(60)
Sky Lore
305(11)
Pictorial Elaboration
316(20)
Popular Astronomy
336(8)
Space or Place
344(15)
Conclusion: Visibility and Visuality 359(10)
Illustration Credits 369(10)
Endnotes 379(32)
Works Cited 411(22)
Index 433
Lillian Lan-ying Tseng is Associate Professor at the Institute for the Study of the Ancient World, New York University