A more than complete dictionary of Chinese martial arts, from Chinese to English. Years and years in the making, this dictionary has more than all the techniques you need. It contains all the words beyond the basics of the language, to enable you to read martial arts books, whether practical, theoretical, historical, or whatever.

A Brief History of Qi takes the reader through the mysterious terrain of Chinese Medicine, Chinese language, Chinese martial arts and Qi Gong - a truly evocative guide to virtually all the traditional Chinese arts and sciences. This book is devoted to a topic represented by a single Chinese character, Qi. When presented with the concept of Qi, students of Chinese culture, Chinese medicine, Chinese martial arts and a wide range of Chinese traditional arts and sciences face one of the most perplexing challenges of their tenure. The book begins with an examination of Qi's linguistic and literary roots, stretching back through the shadowy mists of Chinese pre-civilisation. The authors then trace the development of the concept of Qi through a number of related traditional Chinese disciplines including painting, poetry, medicine and martial arts. The book concludes with an examination of the depth and breadth of Qi as manifested in life's cycles.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.