During the Ming Dynasty numerous new animal themes were created to convey political and ethical messages current at court. As the result a sophisticated language of Chinese animal painting was developed, employing both the animals' symbolic associations and homonymic puns. Hou-mei Sung's exciting rediscovery of some of these lost meanings has led to a full-scale investigation of the evolving history of Chinese animal painting. Distinct symbolic meanings were associated with individual motifs, but all animals were assigned a place in the universe according to the Chinese concept of nature. From the very early yin/yang cosmology to later developments of Daoist and Confucian philosophies and ethics, Chinese animals gained new meanings related to their historical contexts. This book explores these new findings, using the colourful animal images and their rich and evolving symbolic meanings to gain insight into unique aspects of Chinese art, as well as Chinese culture and history.
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少有的对于中国艺术史中动物主题作品的研究。但是对于每种动物象征的论述有些牵强，而且全文都没有注释。
评分<animal farm>初引进中国时，其译名为《百兽图》。动物画与政治寓言的联动，自古便（隐）现于中国传统鸟兽鱼藻的图画中。宋后楣对中国画中动物的iconography（尤其是明代画家的鸟兽图）之详细考据非常impressive。
评分<animal farm>初引进中国时，其译名为《百兽图》。动物画与政治寓言的联动，自古便（隐）现于中国传统鸟兽鱼藻的图画中。宋后楣对中国画中动物的iconography（尤其是明代画家的鸟兽图）之详细考据非常impressive。
评分<animal farm>初引进中国时，其译名为《百兽图》。动物画与政治寓言的联动，自古便（隐）现于中国传统鸟兽鱼藻的图画中。宋后楣对中国画中动物的iconography（尤其是明代画家的鸟兽图）之详细考据非常impressive。
评分<animal farm>初引进中国时，其译名为《百兽图》。动物画与政治寓言的联动，自古便（隐）现于中国传统鸟兽鱼藻的图画中。宋后楣对中国画中动物的iconography（尤其是明代画家的鸟兽图）之详细考据非常impressive。
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