This book takes a fresh look at this underappreciated artist in the context of a nascent Chinese modernism.

A contemporary family drama following two mothers at the centre of a tragedy, One Punch is for fans of Jodi Picoult and Celeste Ng's Little Fires Everywhere. Yasmin Weston is on holiday when she learns that her son Daniel has been assaulted at home in Australia, leaving him with a debilitating brain injury. She vows to hunt down her son's attacker. Evie MacIntyre knows the Westons from school. She's never had much time for Yasmin, and she dislikes Daniel because he bullied her son, Brody. When Evie discovers evidence that Brody was involved in the attack, she is torn but decides there is no way she will let her only son go to jail.

In early nineteenth-century China, a remarkable transformation took place in the art world: artists among China’s educated elites began to use touch to forge a more authentic relationship to the past, to challenge stagnant artistic canons, and to foster deeper human connections. Networks of Touch is an engaging exploration of this sensory turn. In this book, Michael J. Hatch examines the artistic network of Ruan Yuan (1764–1849), a scholar-official whose patronage supported a generation of artists and learned people who prioritized epigraphic research as a means of truing the warped contours of Confucian heritage. Their work instigated an “epigraphic aesthetic”—an appropriation of the stylistic, material, and tactile features of ancient inscribed objects and their reproductive technologies—in late eighteenth- and early nineteenth-century artwork. Rubbings, a reduplicative technology, challenged the dominance of brushwork as the bearer of artistic authority. While brushwork represented the artist’s physical presence through ink and paper, rubbings were direct facsimiles of tactile experiences with objects. This shift empowered artists and scholars to transcend traditional conventions and explore new mediums, uniting previously separate image-making practices while engaging audiences through the senses. Centering on touch and presenting a fresh perspective on early nineteenth-century literati art in China, this volume sheds light on a period often dismissed as lacking innovation and calls into question optical realism’s perceived supremacy in reshaping the sensory experience of the modern Chinese viewer.

China’s vast and ancient body of documented knowledge about plants includes horticultural manuals and monographs, comprehensive encyclopedias, geographies, and specialized anthologies of verse and prose written by keen observers of nature. Until the late nineteenth century, however, standard practice did not include deploying a set of diagnostic tools using a common terminology and methodology to identify and describe new and unknown species or properties. Ordering the Myriad Things relates how traditional knowledge of plants in China gave way to scientific botany between the mid-nineteenth and mid-twentieth centuries, when plants came to be understood in a hierarchy of taxonomic relationships to other plants and within a broader ecological context. This shift not only expanded the universe of plants beyond the familiar to encompass unknown species and geographies but fueled a new knowledge of China itself. Nicholas K. Menzies highlights the importance of botanical illustration as a tool for recording nature—contrasting how images of plants were used in the past to the conventions of scientific drawing and investigating the transition of “traditional” systems of organization, classification, observation, and description to “modern” ones.

Hua Yan (1682-1756) and the Making of the Artist in Early Modern China explores the relationships between the artist, local society, and artistic practice during the Qing dynasty (1644–1911). Arranged as an investigation of the artist Hua Yan’s work at a pivotal moment in eighteenth-century society, this book considers his paintings and poetry in early eighteenth-century Hangzhou, mid-eighteenth-century Yangzhou, and finally their nineteenth-century afterlife in Shanghai. By investigating Hua Yan’s struggle as a marginalized artist—both at his time and in the canon of Chinese art—this study draws attention to the implications of seeing and being seen as an artist in early modern China.

While the connected, international character of today's art world is well known, the eighteenth century too had a global art world. Eighteenth-Century Art Worlds is the first book to attempt a map of the global art world of the eighteenth century. Fourteen essays from a distinguished group of scholars explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the eighteenth century. Capturing the full material diversity of eighteenth-century art, this book considers painting and sculpture alongside far more numerous prints and decorative objects. Analyzing the role of place in the history of eighteenth-century art, it bridges the disciplines of art history and cultural geography, and draws attention away from any one place as a privileged art-historical site, while highlighting places such as Manila, Beijing, Mexico City, and London as significant points on globalized map of the eighteenth-century art world. Eighteenth-Century Art Worlds combines a broad global perspective on the history of art with careful attention to how global artistic concerns intersect with local ones, offering a framework for future studies in global art history.