Harvard East Asian Monographs 336: Picturing Heaven in Early China LILLIAN TSENG

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“Back Flap of Dust Jacket is creased - Dust Jacket has light scratching - INSIDE of book is like new.”
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Last updated on Sep 25, 2021 09:37:42 PDTView all revisionsView all revisions

Item specifics

Condition
Good
A book that has been read but is in good condition. Very minimal damage to the cover including scuff marks, but no holes or tears. The dust jacket for hard covers may not be included. Binding has minimal wear. The majority of pages are undamaged with minimal creasing or tearing, minimal pencil underlining of text, no highlighting of text, no writing in margins. No missing pages. See the seller’s listing for full details and description of any imperfections. See all condition definitionsopens in a new window or tab
Seller Notes
“Back Flap of Dust Jacket is creased - Dust Jacket has light scratching - INSIDE of book is like new.”
Educational Level
Professional
Subject
Asian / Chinese, Religious, History / Ancient & Classical, Subjects & Themes / Religious
Features
Dust Jacket
Region
China
Topic
China
ISBN
9780674060692
EAN
9780674060692
Subject Area
Art, Philosophy
Publication Name
Picturing Heaven in Early China
Publisher
Harvard University, Asia Center
Item Length
1 in
Publication Year
2011
Series
Harvard East Asian Monographs
Type
Textbook
Format
Hardcover
Language
English
Item Height
0.1 in
Author
Lillian Lan-Ying Tseng
Item Weight
20 Oz
Item Width
0.8 in
Number of Pages
480 Pages
Category

About this product

Product Identifiers

Publisher
Harvard University, Asia Center
ISBN-10
0674060695
ISBN-13
9780674060692
eBay Product ID (ePID)
99588472

Product Key Features

Number of Pages
480 Pages
Publication Name
Picturing Heaven in Early China
Language
English
Subject
Asian / Chinese, Religious, History / Ancient & Classical, Subjects & Themes / Religious
Publication Year
2011
Type
Textbook
Subject Area
Art, Philosophy
Author
Lillian Lan-Ying Tseng
Series
Harvard East Asian Monographs
Format
Hardcover

Dimensions

Item Height
0.1 in
Item Weight
20 Oz
Item Length
1 in
Item Width
0.8 in

Additional Product Features

Intended Audience
Scholarly & Professional
LCCN
2011-003019
Dewey Edition
22
Reviews
This remarkable book readably represents a formidable effort of research, drawing on the rich studies of history, art, and paleography that have accumulated over centuries, and particularly on the last forty years of archeology. Lillian Lan-ying Tseng colligates images that no one earlier has studied side by side, and draws from them quite original conclusions. I find her arguments ambitious, ingenious, and persuasive. . . . They show once and for all that pictures are as important as verbal records for understanding the history of cosmology and astronomy., Picturing Heaven in Early China makes an extremely important contribution to the history of Chinese art, culture, and science. Its comprehensive scope and analytical depth, its confident use of both primary textual sources and archeological evidence, its lucid synthesis of a vast array of scholarly literature . . . and above all, its cogent narrative and conceptual scheme make it the most convenient and reliable go-to volume on the subject.
Series Volume Number
336
Illustrated
Yes
Dewey Decimal
704.9/489951
Synopsis
Tian , or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death. Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven-as the mandate, the fantasy, and the sky-into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked into . Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge. By examining Heaven as depicted in ritual buildings, on household utensils, and in the embellishments of funerary settings, Tseng maintains that visibility can hold up a mirror to visuality; Heaven was culturally constructed and should be culturally reconstructed., Tian, or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death. Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven--as the mandate, the fantasy, and the sky--into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked into. Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge., Tian , or Heaven, had been used in China since the Western Zhou to indicate both the sky and the highest god. Examining excavated materials, Lillian Tseng shows how Han-dynasty artisans transformed various notions of Heaven--as the mandate, the fantasy, and the sky--into pictorial entities, not by what they looked at, but by what they looked into ., Tian , or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death. Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven--as the mandate, the fantasy, and the sky--into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked into . Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge. By examining Heaven as depicted in ritual buildings, on household utensils, and in the embellishments of funerary settings, Tseng maintains that visibility can hold up a mirror to visuality; Heaven was culturally constructed and should be culturally reconstructed.
LC Classification Number
N7343.23

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