In On Their Own Terms, Benjamin A. Elman offers a much-needed synthesis of early Chinese science during the Jesuit period (1600-1800) and the modern sciences as they evolved in China under Protestant influence (1840s-1900). By 1600 Europe was ahead of Asia in producing basic machines, such as clocks, levers, and pulleys, that would be necessary for the mechanization of agriculture and industry. In the seventeenth and eighteenth centuries, Elman shows, Europeans still sought from the Chinese their secrets of producing silk, fine textiles, and porcelain, as well as large-scale tea cultivation. Chinese literati borrowed in turn new algebraic notations of Hindu-Arabic origin, Tychonic cosmology, Euclidian geometry, and various computational advances. Since the middle of the nineteenth century, imperial reformers, early Republicans, Guomindang party cadres, and Chinese Communists have all prioritized science and technology. In this book, Elman gives a nuanced account of the ways in which native Chinese science evolved over four centuries, under the influence of both Jesuit and Protestant missionaries. In the end, he argues, the Chinese produced modern science on their own terms.

A compelling examination of the ultimate global commodity, blue and white porcelain, from kiln to consumers across the globe.

With over 630 striking color photos and illustrations, this Chinese art guide focuses on the rich tapestry of symbolism which makes up the basis of traditional Chinese art. Chinese Art: A Guide to Motifs and Visual Imagery includes detailed commentary and historical background information for the images that continuously reappear in the arts of China, including specific plants and animals, religious beings, mortals and inanimate objects. The book thoroughly illuminates the origins, common usages and diverse applications of popular Chinese symbols in a tone that is both engaging and authoritative. Chinese Art: A Guide to Motifs and Visual Imagery is an essential reference for collectors, museum-goers, guides, students and anyone else with a serious interest in the culture and history of China.

Lands Die.The Living Light Fades.An Ancient Darkness Awakens.The Living Light that sustains Arlethia is dwindling.An unknown, vicious enemy approaches in stealth from beyond the northern glaciers, a wasteland of ice that spans hundreds of miles. A clandestine brotherhood of assassins, held in check by the Light for millennia, seeks to break their maledictive shackles and unleash their bloodlust upon the world. Those that should stand with Arlethia clothe themselves in betrayal, desiring her secrets for themselves, leaving Arlethia to stand alone.The rebirthing of lands ceased decades ago. The world of V�leira is dying. Only Arlethia, the Western Province of the Realm, remains untainted by the Ancient Dark's Influence. Reign, the young daughter of Arlethian Lord Thannuel Kerr, becomes entangled in a perilous web of deceit, greed, and assassination plots after witnessing something horrific - something that will destroy all she knows and loves. As threats culminate, she and her twin brother, Hedron, must battle demons on every side - both external and internal - in their efforts to save Arlethia from extinction, as they simultaneously reach for their own personal redemption. But they have become pariahs to their own people. There will be few that dare to stand with them in the dimming Light - and even fewer that will survive.The world of V�leira cannot endure without Arlethia. And the Living Light is fading ...

The term 'jar' refers to any man-made shape with the capacity to enclose something. Few objects are as universal and multi-functional as a jar – regardless of whether they contain food or drink, matter or a void, life-giving medicine or the ashes of the deceased. As ubiquitous as they may seem, such containers, storage vessels and urns are, as this book demonstrates, highly significant cultural and historical artefacts that mediate between content and environment, exterior worlds and interior enclosures, local and global, this-worldly and otherworldly realms. The contributors to this volume understand jars not only as household utensils or evidence of human civilizations, but also as artefacts in their own right. Asian jars are culturally and aesthetically defined crafted goods and as objects charged with spiritual meanings and ritual significance. Transformative Jars situates Asian jars in a global context and focuses on relationships between the filling, emptying and re-filling of jars with a variety of contents and meanings through time and throughout space. Transformative Jars brings together an interdisciplinary team of scholars with backgrounds in curating, art history and anthropology to offer perspectives that go beyond archaeological approaches with detailed analyses of a broad range of objects. By looking at jars as things in the hands of makers, users and collectors, this book presents these objects as agents of change in cultures of craftsmanship and consumption.