This conference volume unites a wide range of scholars working in the fields of history, archaeology, religion, art, and philology in an effort to explore new perspectives and methods in the study of primary sources from premodern South and Southeast Asia. The contributions engage with primary sources (including texts, images, material artefacts, monuments, as well as archaeological sites and landscapes) and draw needed attention to highly adaptable, innovative, and dynamic modes of cultural production within traditional idioms. The volume works to develop categories of historical analysis that cross disciplinary boundaries and represent a wide variety of methodological concerns. By revisiting premodern sources, Asia Beyond Boundaries also addresses critical issues of temporality and periodization that attend established categories in Asian Studies, such as the “Classical Age” or the “Gupta Period”. This volume represents the culmination of the European Research Council (ERC) Synergy project Asia Beyond Boundaries: Religion, Region, Language and the State, a research consortium of the British Museum, the British Library and the School of Oriental and African Studies, in partnership with Leiden University.

This lavishly illustrated book traces the variety of paths followed by Chinese blue and white porcelain as it has travelled around the world. The illustrations come from museums and private collections worldwide.

Among the most revered and beloved artworks in China are ceramics—sculptures and vessels that have been utilized to embellish tombs, homes, and studies, to drink tea and wine, and to convey social and cultural meanings such as good wishes and religious beliefs. Since the eighth century, Chinese ceramics, particularly porcelain, have played an influential role around the world as trade introduced their beauty and surpassing craft to countless artists in Europe, America, and elsewhere. Spanning five millennia, the Metropolitan Museum’s collection of Chinese ceramics represents a great diversity of materials, shapes, and subjects. The remarkable selections presented in this volume, which include both familiar examples and unusual ones, will acquaint readers with the prodigious accomplishments of Chinese ceramicists from Neolithic times to the modern era. As with previous books in the How to Read series, How to Read Chinese Ceramics elucidates the works to encourage deeper understanding and appreciation of the meaning of individual pieces and the culture in which they were created. From exquisite jars, bowls, bottles, and dishes to the elegantly sculpted Chan Patriarch Bodhidharma and the gorgeous Vase with Flowers of the Four Seasons, How to Read Chinese Ceramics is a captivating introduction to one of the greatest artistic traditions in Asian culture.

The Museum’s outstanding collection of maiolica is significant because most of the major pottery centers, maiolica forms, and styles are represented. This current catalogue presents the collection in a chronological progression according to stylistic trends. Lavish color plates accompany the detailed entries

Collecting China is a unique collection of essays that brings together theories of materiality and what collecting has meant to various peoples over time. Collecting China grew out of a simple question: how does a thing become Chinese? Fifteen essays explore this question from different angles, ranging from close examination of world-renowned private collections to critical reinterpretations of historical writings.

We think of blue and white porcelain as the ultimate global commodity: throughout East and Southeast Asia, the Indian Ocean including the African coasts, the Americas and Europe, consumers desired Chinese porcelains. Many of these were made in the kilns in and surrounding Jingdezhen. Found in almost every part of the world, Jingdezhen's porcelains had a far-reaching impact on global consumption, which in turn shaped the local manufacturing processes. The imperial kilns of Jingdezhen produced ceramics for the court, while nearby private kilns manufactured for the global market. In this beautifully illustrated study, Anne Gerritsen asks how this kiln complex could manufacture such quality, quantity and variety. She explores how objects tell the story of the past, connecting texts with objects, objects with natural resources, and skilled hands with the shapes and designs they produced. Through the manufacture and consumption of Jingdezhen's porcelains, she argues, China participated in the early modern world.