In The City of Ye in the Chinese Literary Landscape, Joanne Tsao traces the evolution of the city of Ye from a lived to an imaginative space in the world of literary and historical texts.

In The City of Ye in the Chinese Literary Landscape, Joanne Tsao traces the evolution of the city of Ye from a lived to an imaginative space in the world of literary and historical texts.

With commentary and annotations throughout, Ming Dynasty Tales: A Guided Reader presents for the first time in English 10 key stories from China's Ming Dynasty era. Casting new light on this significant period in Chinese literary history, these tales bring Ming era China vividly to life, from its chaotic beginnings to its imperial heyday. As well as bearing witness to social change across the 100-year life of the Yuan Dynasty from 1260 to 1368, these tales tackle key themes of war and peace and Confucian values of loyalty, filiality, chastity, and righteousness.

This book provides a translation of the complete poems and fu of Cao Zhi (192–232), one of China’s most famous poets. Cao Zhi lived during a tumultuous age, a time of intrepid figures and of bold and violent acts that have captured the Chinese imagination across the centuries. His father Cao Cao (155–220) became the most powerful leader in a divided empire, and on his death, Cao Zhi’s elder brother Cao Pi (187–226) engineered the abdication of the last Han emperor, establishing himself as the founding emperor of the Wei Dynasty (220–265). Although Cao Zhi wanted to play an active role in government and military matters, he was not allowed to do so, and he is remembered as a writer. The Poetry of Cao Zhi contains in its body one hundred twenty-eight pieces of poetry and fu. The extant editions of Cao Zhi’s writings differ in the number of pieces they contain and present many textual variants. The translations in this volume are based on a valuable edition of Cao’s works by Ding Yan (1794–1875), and are supplemented by robust annotations, a brief biography of Cao Zhi, and an introduction to the poetry by the translator.

With dozens of stunning photographs, this modern translation of a Classic text is a masterpiece of classical Chinese gardening. Ji Cheng's great work on garden design, the Yuan Ye or Craft of Gardens, was originally published around 1631 and is the earliest manual of landscape gardening in the Chinese tradition. This is the first complete English translation of Ji Cheng's seminal work. This Chinese gardening book is based on J Cheng's notes and experiences from his career as a garden designer, which he discusses at some length in his introduction> Since architecture is an integral part of the Chinese garden, much of the book is taken up with the design of different types of buildings and the integration of architecture with nature in the garden. Ji Cheng explains the religious and aesthetic principles underlying garden design and the appropriate emotional response to various effects. he then offers a down-to-earth series of instructions about the requirements of different types of sites, building layouts, architectural features, paving, the construction of artificial mountains, selection of rocks, and the use of natural scenery. This delightful book provides not only insights into Chinese gardening but also a unique perspective on Chinese culture and society in the late Ming dynasty. Full notes by the translator explain obscure points and introduce relevant aspects of Chinese culture, while an introduction by Maggie Keswick sets the book firmly in its historical context. Illustrations include not only Ji Cheng's original diagrams but also historical paintings and contemporary photographs of a number of outstanding gardens in the part of East China where Ji Cheng lived and worked.

This book includes the history of Chinese literature before 1949. It firstly outlines the development process of Chinese literature and basic features and then discusses them according to the literary genre, for the literature of each era. This book gathers established scholars in the field and presents their latest research in the Chinese literature history studies. Moreover, it has included the literature history of different nationalities in the history of China and the records of folk literature history, reflecting literature from different classes. In the limited space of this book, the writers who have been loved by the Chinese people for three thousand years are discussed, such as Qu Yuan, Tao Yuanming, Li Bai, Du Fu, Su Shi, Xin Qiji, Yuan Haowen, Nalan Xingde, and so on. Careful elaborations are made on each writer together with quotations and analysis of their work.

This book explores China’s encounter with architecture and modernity in the tumultuous epoch before Communism – an encounter that was mediated not by a singular notion of modernism emanating from the west, but that was uniquely multifarious, deriving from a variety of sources both from the west and, importantly, from the east. The heterogeneous origins of modernity in China are what make its experience distinctive and its architectural encounters exceptional. These experiences are investigated through a re-evaluation of established knowledge of the subject within the wider landscape of modern art practices in China. The study draws on original archival and photographic material from different artistic genres and, architecturally, concentrates on China’s engagement with the west through the treaty ports and leased territories, the emergence of architecture as a profession in China, and Japan’s omnipresence, not least in Manchuria, which reached its apogee in the puppet state of Manchukuo. The study’s geographically, temporally, and architecturally inclusive approach framed by the concept of multiple modernities questions the application of conventional theories of modernity or post-colonialism to the Chinese situation. By challenging conventional modernist historiography that has marginalised the experiences of the west’s other for much of the last century, this book proposes different ways of grappling with and comprehending the distinction and complexity of China’s experiences and its encounter with architectural modernity.