Zhao Mengfu has enormous significance for Chinese art history. This work presents a new, synthetic portrait of the artist's development from the 1280s to his death in 1322, and evaluates his pivotal role in the social-political context in Yuan China as well as the development of the artist's self-consciousness. Shane McCausland's study features detailed interpretations of pictorial forms in light of historical changes, and close readings of critical colophons, many of whic are appended to artworks but neglected as visual sources. These readings are meant to stimulate visual analysis of the oeuvre as well as debate about the use of Tang (618-907) and other period modes as models for the 'Yuan renaissance.' The book challenges stereotypes portraying Zhao Mengfu as a traitor or careerist. The historical background of dynastic change and Mongol rule is treated in a revisionist manner that aims to contextualize the traditional Chinese hostility towards Zhao Mengfu as a Yuan scholar-official. The concern here is for his development, in the context of Mongol rule, as a Chinese scholar-artist. This book will be a must for scholars, curators, and other specialists in Chinese painting and calligraphy, especially those focusing on Yuan dynasty and literati painting. Shane McCauslandis a lecturer in the history of Chinese art in the Department of Art and Archaeology at SOAS, University of London.

The Chinese Chan (jap. Zen) abbot Zhongfeng Mingben of the Yuan Dynasty forged a synthesis of buddhist sutra writing and draft-cursive (zhang cao) script in his calligraphy. This highly idiosyncratic, new style of calligraphy prompted innovative trends in Ming Dynasty China and transmitted current Chinese artistic developments to Japan where it had a major impact on Zen- and tea circles.

In May of 1985, an international symposium was held at The Metropolitan Museum of Art in honor of John M. Crawford, Jr., whose gifts of Chinese calligraphy and painting have constituted a significant addition to the Museum's holdings. Over a three-day period, senior scholars from China, Japan, Taiwan, Europe, and the United States expressed a wide range of perspectives on an issue central to the history of Chinese visual aesthetics: the relationships between poetry, calligraphy, and painting. The practice of integrating the three art forms-known as san-chiieh, or the three perfections-in one work of art emerged during the Sung and Yuan dynasties largely in the context of literati culture, and it has stimulated lively critical discussion ever since. This publication contains twenty-three essays based on the papers presented at the Crawford symposium. Grouped by subject matter in a roughly chronological order, these essays reflect research on topics spanning two millennia of Chinese history. The result is an interdisciplinary exploration of the complex set of relationships between words and images by art historians, literary historians, and scholars of calligraphy. Their findings provide us with a new level of understanding of this rich and complicated subject and suggest further directions for the study of Chinese art history. The essays are accompanied by 255 illustrations, some of which reproduce works rarely published. Chinese characters have been provided throughout the text for artists names, terms, titles of works of art and literature, and important historical figures, as well as for excerpts of selected poetry and prose. A chronology, also containing Chinese characters, and an extensive index contribute to making this book illuminating and invaluable to both the specialist and the layman.

Written by a team of eminent international scholars, this book is the first to recount the history of Chinese painting over a span of some 3000 years.

Published in conjunction with an exhibition held at the Metropolitan Museum of Art, New York, Sept. 28, 2010-Jan. 2, 2011.

A Companion to Asian Art and Architecture presents a collection of 26 original essays from top scholars in the field that explore and critically examine various aspects of Asian art and architectural history. Brings together top international scholars of Asian art and architecture Represents the current state of the field while highlighting the wide range of scholarly approaches to Asian Art Features work on Korea and Southeast Asia, two regions often overlooked in a field that is often defined as India-China-Japan Explores the influences on Asian art of global and colonial interactions and of the diasporic communities in the US and UK Showcases a wide range of topics including imperial commissions, ancient tombs, gardens, monastic spaces, performances, and pilgrimages.

"Together the text and illustrations gradually reveal many of the major themes and characteristics of Chinese painting. To "read" these works is to enter a dialogue with the past. Slowly perusing a scroll or album, one shares an intimate experience that has been repeated over the centuries. And it is through such readings that meaning is gradually revealed."--BOOK JACKET.