One of the most magnificent and enduring themes in Chinese painting history can be found depicted in Daoist temples from the local village up to the very capital, viz., the paintings of the Heavenly Court (chaoyuan tu). Surprisingly, its images have remained largely unstudied in Western scholarship. Drawing on a comparative study of four complete sets of wall paintings dating back to the thirteenth and fourteenth centuries (the oldest examples), and their related images, painting criticism, stele inscriptions, and Daoist ritual manuals, the author offers the first comprehensive study of the historical development, iconography, ritual context, methods of mural design, and the personalisations made by patrons of the four Heavenly Court paintings.

Donors of Longmen is the first work in a Western language to re-create the history of the Longmen Grottoes, one of China's great stone sculpture treasure houses. Longmen, a UNESCO World Heritage site located near the old capital of Luoyang in modern Henan Province, consists of thousands of ancient cave chapels and shrines containing Buddhist icons of all sizes that were carved into the towering limestone cliffs from the fifth to the eighth centuries. Beyond its superb sculpture, Longmen also preserves thousands of engraved dedicatory inscriptions by its donors, who included emperors and empresses, aristocrats, court eunuchs, artisans, monks, nuns, lay societies, female palace officials, male civil and military officials, and ordinary lay believers. Based on wide reading of both Asian and Western-language scholarship and careful analysis of the architecture, epigraphy, and iconography of the site, Amy McNair provides a rich and detailed examination of the dynamics of faith, politics, and money at Longmen, beginning with the inception of the site at Guyang Grotto in 493 and concluding with the last major dated project, the forty-eight Amitabhas added to the Great Vairocana Image Shrine in 730. Through her sensitive and well-informed exploration of Longmen's huge repository of remarkable early sculpture, McNair gives voice to a wide array of medieval believers, many of them traditionally excluded from history. Hers will be the definitive work on Longmen for years to come.

Buddhist steles represent an important subset of early Chinese Buddhist art that flourished during the Northern and Southern Dynasties period (386–581). More than two hundred Chinese Buddhist steles are known to have survived. Their brilliant imagery has long captivated scholars, yet until now the Buddhist stele as a unique art form has received little scholarly attention. Dorothy Wong rectifies that insufficiency by providing in this well-illustrated volume the first comprehensive investigation of this group of Buddhist monuments. She traces the ancient roots of the Chinese stele tradition and investigates the process by which Chinese steles were adapted for Buddhist use. She arranges the known corpus of Buddhist steles into broad chronological and regional groupings and analyzes not only their form and content but also the nexus of complex issues surrounding this art form—from cultural symbolism to the interrelations between religious doctrine and artistic expression, economic production, patronage, and the synthesis of native and foreign art styles. In her analysis of Buddhism’s dialogue with native traditions, Wong demonstrates how the Chinese artistic idiom planted the seeds for major achievements in figural and landscape arts in the ensuing Sui and Tang periods.

After the collapse of the Han dynasty in the third century CE, China divided along a north-south line. Mark Lewis traces the changes that both underlay and resulted from this split in a period that saw the geographic redefinition of China, more engagement with the outside world, significant changes to family life, developments in the literary and social arenas, and the introduction of new religions. The Yangzi River valley arose as the rice-producing center of the country. Literature moved beyond the court and capital to depict local culture, and newly emerging social spaces included the garden, temple, salon, and country villa. The growth of self-defined genteel families expanded the notion of the elite, moving it away from the traditional great Han families identified mostly by material wealth. Trailing the rebel movements that toppled the Han, the new faiths of Daoism and Buddhism altered every aspect of life, including the state, kinship structures, and the economy. By the time China was reunited by the Sui dynasty in 589 ce, the elite had been drawn into the state order, and imperial power had assumed a more transcendent nature. The Chinese were incorporated into a new world system in which they exchanged goods and ideas with states that shared a common Buddhist religion. The centuries between the Han and the Tang thus had a profound and permanent impact on the Chinese world.

Between the fall of the Han dynasty in 220 CE and the year 600, more than thirty dynasties, kingdoms, and states rose and fell on the eastern side of the Asian continent. The founders and rulers of those polities represented the spectrum of peoples in North, East, and Central Asia. Nearly all of them built palaces, altars, temples, tombs, and cities, and almost without exception, the architecture was grounded in the building tradition of China. Illustrated with more than 475 color and black-and-white photographs, maps, and drawings, Chinese Architecture in an Age of Turmoil uses all available evidence—Chinese texts, secondary literature in six languages, excavation reports, and most important, physical remains—to present the architectural history of this tumultuous period in China’s history. Its author, Nancy Shatzman Steinhardt, arguably North America’s leading scholar of premodern Chinese architecture, has done field research at nearly every site mentioned, many of which were unknown twenty years ago and have never been described in a Western language. The physical remains are a handful of pagodas, dozens of cave-temples, thousands of tombs, small-scale evidence of architecture such as sarcophaguses, and countless representations of buildings in paint and relief sculpture. Together they narrate an expansive architectural history that offers the first in-depth study of the development, century-by-century, of Chinese architecture of third through the sixth centuries, plus a view of important buildings from the two hundred years before the third century and the resolution of architecture of this period in later construction. The subtext of this history is an examination of Chinese architecture that answers fundamental questions such as: What was achieved by a building system of standardized components? Why has this building tradition of perishable materials endured so long in China? Why did it have so much appeal to non-Chinese empire builders? Does contemporary architecture of Korea and Japan enhance our understanding of Chinese construction? How much of a role did Buddhism play in construction during the period under study? In answering these questions, the book focuses on the relation between cities and monuments and their heroic or powerful patrons, among them Cao Cao, Shi Hu, Empress Dowager Hu, Gao Huan, and lesser-known individuals. Specific and uniquely Chinese aspects of architecture are explained. The relevance of sweeping—and sometimes uncomfortable—concepts relevant to the Chinese architectural tradition such as colonialism, diffusionism, and the role of historical memory also resonate though the book.

Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art --

"The author's capacity to grasp and interpret these [world media] events is astounding, and her ability to provide insights into a world where unbounded information is circling the earth with the speed of light is startling." -- Choice "... a wide-ranging, quirky and dextrous mix of description, theory and analysis, that documents the perils of the global telecommunications network... " -- Times Literary Supplement "... this is a stimulating, even moving, book, dense with ideas and with many quotable lines." -- The New Statesman "Wark is one of the most original and interesting cultural critics writing today." -- Lawrence Grossberg McKenzie Wark writes about the experience of everyday life under the impact of increasingly global media vectors. We no longer have roots, we have aerials. We no longer have origins, we have terminals.