Believing that everything has a precedent, Chinese artists were never bashful about reproducing art, typically seeing less of a difference between the original work and reproductions. As a result, replication has often been considered a fundamental mode of production in Chinese art, with roots extending to antiquity. In turn, some collectors would knowingly brandish originals next to replicas while others completely rejected the idea of imitations as artworks. This book explores the controversial questions of faking, copying, and replicating Chinese painting, bronzes, ceramics, works on paper, and sculpture.
苏式核雕
本书第一卷介绍书版碑帖;第二卷评论书, 画, 琴, 纸;第三, 四卷记载笔, 砚, 炉, 瓶及一切器用服饰之类.
走! 去博物馆学历史: 中国国宝篇
No bamboo carvers of the Yüan period seem to have been recorded , but many of the Ming period receive notices in such works as Ssú mien chai chi , Tui shan shu wu mo yü lu , Chia ting chu jen lu , Chu ko ts ' ungch ' av , and T'ai ping ...
Two Rare Chinese Porcelain Fish Jars of the 14th and 16th Centuries
The Social Life of Inkstones explores the hidden history and cultural significance of the inkstone and puts the stonecutters and artisans on center stage. A William Sangki and Nanhee Min Hahn Book
Exhibition book for Ming: The Golden Empire showing at the National Museum of Scotland summer 2014 - original artifacts from Nanjing Museum, including Chinese National Treasures.
Published for the exhibition in Monaco, this book will bring together some 200 remarkable exhibits, from the former palace of the emperors and loans from major European and American collections: the Musée Cernuschi and the Musée du Louvre ...
Lindsay Danner.
Defining Yongle: Imperial Art in Early Fifteenth-century China