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A History of Chinese Art is a lavishly illustrated work in four volumes covering the history of Chinese art from the Pre-Qin period (pre-221 BC) to the early twentieth century. Compiled by leading art historians at the Central Academy of Fine Arts in Beijing, the volumes offer a Chinese perspective on the rich artistic tradition that has flourished throughout China's long history, from ancient pottery and tomb painting to furniture, sculpture, ceramics, calligraphy and fine art. Discussion is supported by full-colour illustrations throughout, sourced from collections in China and around the world, including recent archaeological discoveries. A History of Chinese Art provides an introductory point of reference for those with an interest in Chinese history, culture and art.
This book is essentially an introduction to art through selected essays by some of the greatest historians, critics and artists of the past century. Unique in its approach, it is more of a tapestry than a map as it is woven of many different perspectives and ideas. the essays, selected by Professor Mansfield, from more than thirty years of teaching the visual arts in America and China, have been assembled here to provide the reader with a unique window to the many worlds of art. It is dedicated to the student of the visual arts and the idea that art communicates to us through time and space while engaging us on historic, cultural, aesthetic and personal levels. It presents a broad chronological and geographic span beginning with the sacred world of the ancient past continuing through cultural, socio-Political, critical, ethnic, gender, archeological, architectural, historic and technological issues that have shaped the contemporary world and aesthetic consciousness. the book is devoted to presenting a multicultural view while providing a variety of critical, historic and methodological approaches to seeing, thinking and appreciating art. Robert Mansfield is an internationally acclaimed artist with a specialization in large scale architecturally oriented public sculpture and a tenured professor of art at San Diego State University. He has taught at Smith College and Hampshire College in Massachusetts and the University of Minnesota. He has also taught at the Chinese Academy of Art in Hangzhou and the Suzhou Academy of Art in China. He has written and lectured extensively on public art, architecture and public spaces, in the US and in China. He has also served on the Federal Governments, GSA, Art in Public Places program. Professor Mansfield lives in la Mesa, Ca, Merrifield, MN and Hangzhou China with his wife Mingya and son Brendan.
By examining social transformation and political participation theories, this book focuses on the core concept of non-institutional political participation, which is classified into two types: induced participation and imposed participation. This classification has changed the tradition of dichotomizing political participation as either legal or illegal and enriched the conceptualization of political participation. Based on an investigation of the characteristics of Chinese peasants and the relations between interests, authority and political participation, the book examines the changes in interest structures and modes of control in rural China during the transformation period, and proposes a political participation model built upon mutual benefits.?
This book is a cognitive semantic study of the Chinese conceptualization of the heart, traditionally seen as the central faculty of cognition. The concept of HEART, encoded in the wordxin, lies at the core of Chinese thought and medicine, and its importance to Chinese culture is extensively manifested in the Chinese language. The study explores this important concept and its cultural models along both diachronic and synchronic dimensions and with a cross-cultural perspective.
James L. Burch.C. Philippe Escoubet Originally published in the journal Space Science Reviews, Volume 145, Nos 1 2, 1 2. DOI: 10. 1007/s11214-009-9532-7 (c) Springer Science+Business Media B. V. 2009 The IMAGE and CLUSTER spacecraft have revolutionized our understanding of the inner magnetosphere and in particular the plasmasphere. Before launch, the plasmasphere was not a prime objective of the CLUSTER mission. In fact, CLUSTER might not have ever observed this region because a few years before the CLUSTER launch (at the beginning of the 1990s), it was proposed to raise the perigee of the orbit to 8 Earth radii to make multipoint measu- ments in the current disruption region in the tail. Because of ground segment constraints, this proposal did not materialize. In view of the great depth and breadth of plasmaspheric research and numerous papers published on the plasmasphere since the CLUSTER launch, this choice certainly was a judicious one. The fact that the plasmasphere was one of the prime targets in the inner magnetosphere for IMAGE provided a unique opportunity to make great strides using the new and comp- mentary measurements of the two missions. IMAGE, with sensitive EUV cameras, could for the rst time make global images of the plasmasphere and show its great variability d- ing storm-time. CLUSTER, with four-spacecraft, could analyze in situ spatial and temporal structures at the plasmapause that are particularly important in such a dynamic system."
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