This text explores the large body of sculpture, paintings and other religious imagery produced for China's common classes from the third to the sixth centuries CE. In contrast to the works made for imperial patrons, illustrious monastics, or other luminaries, these ordinary images - modest in scale, mass-produced, and at times incomplete - were created for those of lesser standing. Because they cannot be related to well-known historical figures or social groups, these images have been considered a largely nebulous, undistinguished mass of works. Situating his study in the gaps between conventional categories such as Buddhism, Daoism and Chinese popular art, Stanley K. Abe examines works (including some of the earliest known examples of Buddha-like images in China) that were commissioned by patrons of modest standing and produced by nameless artists and artisans.
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Stanley Abe, Associate Professor Stanley AbeSpecialization: Chinese Art Theory & Criticism Research Interests: Stanley Abe has published on Chinese Buddhist art, contemporary Chinese art, Asian American art, Abstract Expressionism, and the ...
评分Stanley Abe, Associate Professor Stanley AbeSpecialization: Chinese Art Theory & Criticism Research Interests: Stanley Abe has published on Chinese Buddhist art, contemporary Chinese art, Asian American art, Abstract Expressionism, and the ...
评分408 pages | 230 halftones, 5 maps, 20 line drawings | 8-1/2 x 9-1/5 | © 2001 This richly illustrated book explores the large body of sculpture, paintings, and other religious imagery produced for China's common classes from the third to the sixth centuri...
评分Stanley Abe, Associate Professor Stanley AbeSpecialization: Chinese Art Theory & Criticism Research Interests: Stanley Abe has published on Chinese Buddhist art, contemporary Chinese art, Asian American art, Abstract Expressionism, and the ...
评分Stanley Abe, Associate Professor Stanley AbeSpecialization: Chinese Art Theory & Criticism Research Interests: Stanley Abe has published on Chinese Buddhist art, contemporary Chinese art, Asian American art, Abstract Expressionism, and the ...
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作者的想法很誠實，用那些超出常規結論的物品來挑戰慣常的認知，暗中批判了以往那些矯造結論的學術，講一些強加的連貫性的故事。但是這個實誠的結果背後是材料上的零碎，缺乏連貫性。這或許是ordinary images，那些屬於一般大眾的物件，的真實本質吧。在講求精彩故事的學術常規上並不是出彩的作品，但是一本秉持真實態度下的認真作品，適合查找資料用。
评分作者的想法很誠實，用那些超出常規結論的物品來挑戰慣常的認知，暗中批判了以往那些矯造結論的學術，講一些強加的連貫性的故事。但是這個實誠的結果背後是材料上的零碎，缺乏連貫性。這或許是ordinary images，那些屬於一般大眾的物件，的真實本質吧。在講求精彩故事的學術常規上並不是出彩的作品，但是一本秉持真實態度下的認真作品，適合查找資料用。
评分作者的想法很誠實，用那些超出常規結論的物品來挑戰慣常的認知，暗中批判了以往那些矯造結論的學術，講一些強加的連貫性的故事。但是這個實誠的結果背後是材料上的零碎，缺乏連貫性。這或許是ordinary images，那些屬於一般大眾的物件，的真實本質吧。在講求精彩故事的學術常規上並不是出彩的作品，但是一本秉持真實態度下的認真作品，適合查找資料用。
评分作者的想法很誠實，用那些超出常規結論的物品來挑戰慣常的認知，暗中批判了以往那些矯造結論的學術，講一些強加的連貫性的故事。但是這個實誠的結果背後是材料上的零碎，缺乏連貫性。這或許是ordinary images，那些屬於一般大眾的物件，的真實本質吧。在講求精彩故事的學術常規上並不是出彩的作品，但是一本秉持真實態度下的認真作品，適合查找資料用。
评分作者的想法很誠實，用那些超出常規結論的物品來挑戰慣常的認知，暗中批判了以往那些矯造結論的學術，講一些強加的連貫性的故事。但是這個實誠的結果背後是材料上的零碎，缺乏連貫性。這或許是ordinary images，那些屬於一般大眾的物件，的真實本質吧。在講求精彩故事的學術常規上並不是出彩的作品，但是一本秉持真實態度下的認真作品，適合查找資料用。
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