Excerpt from Forty Centuries of Ink How to accomplish this as well as to give a chrono logical history on the subject of inks generally, both as to their genesis, the effect of time and the elements, the determination of the. Constituents and the consti tution of inks, their value as to lasting qualities, their removal and restoration, is the object of this work. There is also included many court cases where the matter of ink was in controversy; information respect ing ancient mss. And the implements and other ao cessories of ink which have from time to time been employed in the act of writing. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

The subject is a 15.5-foot handscroll painted by Li Kung-lin, the preeminent figure painter of 11th-century China, illustrating a work that dates to between 350 and 200 B.C.--a dialog between Confucius and a disciple on the meaning and application of filial piety in the affairs of the individual and of the state. Barnhart's (art history, Yale) elucidation is accompanied by contributed chapters on the calligraphy of the work and on the conservation and remounting of the scroll. Generously illustrated. 9.25x12.25" Annotation copyright by Book News, Inc., Portland, OR

In the first exploration of Chinese paintings as both material products and pictorial representations, The Double Screen shows how the collaboration and tension between material form and image gives life to a painting. A Chinese painting is often reduced to the image it bears; its material form is dismissed; its intimate connection with social activities and cultural conventions neglected. A screen occupies a space and divides it, supplies an ideal surface for painting, and has been a favorite pictorial image in Chinese art since antiquity. Wu Hung undertakes a comprehensive analysis of the screen, which can be an object, an art medium, a pictorial motif, or all three at once. With its diverse roles, the screen has provided Chinese painters with endless opportunities to reinvent their art. The Double Screen provides a powerful non-Western perspective on issues from portraiture and pictorial narrative to voyeurism, masquerade, and political rhetoric. It will be invaluable to anyone interested in the history of art and Asian studies.

This book takes you on a journey where no writer has ever taken you before. Author Valerie Kirschenbaum not only dreams of a Renaissance "the likes of which the world has never seen", she gives you the actual blueprint. In warm and intimate prose, she shows you how and why we will experience this Renaissance in our lifetime. Responding to the recent National Endowment for the Arts survey, which documented a precipitous, 20-year decline in America's reading habits, she presents an electrifying new solution for captivating a generation of readers reared on television, movies and music videos. With 860 gorgeous, full colour images from ancient Egypt, Greece, Rome, Maya, India, China, Japan, Tibet, and medieval Europe (many never seen by an American audience), Kirschenbaum provides what world renowned graphic designer Milton Glaser described as "the visual history of the universe and its relationship to writing." She combines the breathtaking beauty of illuminated manuscripts with today's latest technologies to create a scintillating multisensory experience.