In the past twenty years, work on the local culture of central Hunan has been one of the most exciting sources for rethinking the nature and variety of Chinese local society. At the heart of this society is a kind of statuary found nowhere else in China--sculpted images of local people, primarily religious specialists of a wide range, but also parents and ancestors who, according to Confucian orthodoxy, should be represented by tablets, not statues. While the consecration ceremonies of these statues include rites that are common to all China, they are embedded in unique local ritual traditions. Based on two decades of international collaborative research, Alain Arrault focuses on some 4,000 of these statues and studies them on the basis of consecration certificates inserted in the statues, the earliest of which date to the sixteenth century.

Featuring photographs, this book traces the history of Chinese sculpture throughout the imperial period. By outlining the principles which underlie all forms of statuary, regardless of size and material, it aims to elucidate the extent to which sculpture in China has been adapted to serve the political, practical and spiritual needs of its rulers. Archaeological discoveries over the last fifty years have revolutionised knowledge about Chinese sculpture, revealing the length and strength of a hitherto unsuspected tradition stretching back to prehistoric times. This

Chinese Ceramic Sculptures from the Peoples of China.

Scattered throughout China, in remote mountain areas, rice fields, school yards and dusty plains, are thousands of monumental stone figures of men, animals and mythological creatures. These sculptures were carved to line the avenues, or spirit roads, leading to the tombs of important people. They encompass two thousand years of history, from the spirit road statue on a Han dynasty tomb in 117 B.C. to figures on the tomb of a direct descendant of Confucius in 1934.

Spanning some 7000 years, 'Chinese Sculpture' explores a beautiful and diverse world of objects, many of which have only come to light in the later half of the 20th century. The authors analyse and present, mostly in colour, some 500 examples of Chinese sculpture.

A renowned sculptor from China, Professor Wu Weishan stands out in China's art arena ? indeed, in the entire cultural fraternity ? with his unique sculpting styles and original theoretical views. His series of creative works that feature China's historical and cultural celebrities showcase his freehand sculpting technique and his concept of the ?eight major styles of Chinese sculpture?, which directly challenge the phenomenon of contemporary art steeped so heavily in values derived from Western popular art and Russian realism.This book documents the different stages of Wu Weishan's pursuits, struggles, and creations. It records his dealings with eminent figures in the science, cultural, and art arenas, such as Yang Zhenning, Ji Xianlin, Wu Guanzhong, and Xiong Bingming. His art notes, excerpts from his theoretical essays, and images of some selected sculptures are also included. From here, readers can get a glimpse of an artist's inner world during his growing years ? how he devoutly approached life and art against the backdrop of contemporary society and culture.