Enticing, eye catching, and artistic, the graphic art of product labels from years past also offers clues to understanding the contemporary culture and ways of life of everyday consumers. Here is a showcase of remarkable packaging and advertising art created from 1890 through 1976, primarily in Canton, Shanghai, Hong Kong, Macau, and other cities of large Chinese populations. Included are more than 400 different labels for products as diverse as tea, medicines, foods, cosmetics, cigarettes, harmonicas, fabrics, matches, phonograph records, firecrackers, and incense. Designers and historians alike will appreciate how these labels employed a fascinating mixture of traditional Chinese imagery and ornamentation blended with modern Western graphic influences and later the ideology of the People's Republic of China.

The Awakening Artist: Madness and Spiritual Awakening in Art is an art theory book that explores the collision of human madness and spiritual awakening in art. It examines a condition of insanity that can be seen in most art movements throughout art history and contrasts that insanity with revelations of beauty, wonder and truth that can also be found in many works of art. The Awakening Artist references concepts of creativity put forward by Joseph Campbell, Carl Sagan, Albert Einstein, Carl Jung and others. Furthermore, The Awakening Artist discusses many of the world s most important artists who explored the theme of awakening in art including Michaelangelo, Paul Cezanne, Claude Monet, Marcel Duchamp, Morris Graves and many others. Additionally, using concepts of Eastern philosophy, the book presents the case that human creativity originates from the same creative source that animates all of life, and that the artist naturally aligns with that creative source when he or she is in the act of creating. ,

The History of World Dress and Fashion presents a comprehensive survey of dress from around the world including China, Japan, India, Africa, the Islamic Empire, and the Ancient Americas. This extensive study features descriptions and analysis of men’s, women’s and children’s clothing, accessories, and cultural styles from prehistory into the twenty-first century. Lavishly illustrated in color throughout, it features more than 1600 images - and is a valuable resource for fashion designers, theater costumers, textile researchers, costume collectors and curators, and anyone interest in clothing and style customs of the world.

The Routledge Companion to Marketing History is the first collection of readings that surveys the broader field of marketing history, including the key activities and practices in the marketing process. With contributors from leading international scholars working in marketing history, this companion provides nine country-specific histories of marketing practice as well as a broad analysis of the field, including: the histories of advertising, retailing, channels of distribution, product design and branding, pricing strategies, and consumption behavior. While other collections have provided an overview of the history of marketing thought, this is the first of its kind to do so from the perspective of companies, industries, and even whole economies. The Routledge Companion to Marketing History ranges across many countries and industries, engaging in substantive detail with marketing practices as they were performed in a variety of historical periods extending back to ancient times. It is not to be missed by any historian or student of business.

Chinese Art and Its Encounter with the Worldexamines Chinese art from the mid-eighteenth century to the present, beginning with discussion of a Chinese portrait modeler from Canton who traveled to London in 1769, and ending with an analysis of art and visual culture in post-colonial Hong Kong. By means of a series of six closely-focused case studies, often deliberately introducing non-canonical or previously marginalized aspects of Chinese visual culture, it analyzes Chinese art's encounter with the broader world, and in particular with the West. Offering more than a simple charting of influences, it uncovers a pattern of richly mutual interchange between Chinese art and its others. Arguing that we cannot fully understand modern Chinese art without taking this expanded global context into account, it attempts to break down barriers between areas of art history which have hitherto largely been treated within separate and often nationally-conceived frames. Aware that issues of cultural difference need to be addressed by art historians as much as by artists, it represents a pioneering attempt to produce art historical writing which is truly global in approach. David Clarkeis Professor in the Department of Fine Arts, University of Hong Kong.