Picturing Heaven in Early China 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024

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Lillian Lan-ying Tseng 作者

Harvard University Asia Center

译者

2011-7-25 出版日期

480 页数

USD 79.95 价格

Hardcover

The Harvard East Asian Monographs 丛书系列

9780674060692 图书编码

Picturing Heaven in Early China 在线电子书图书标签: 艺术史考古秦汉史海外中国研究图像汉代汉学曾蓝莹

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发表于2024-11-25

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Picturing Heaven in Early China 在线电子书 epub 下载 mobi 下载 pdf 下载 txt 下载 2024

Picturing Heaven in Early China 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024

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腦補是歷史學研究的重要方法= =

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Artisans or other agents participate in the transformations from tacit knowledge of the heaven to its visual representation. And each step of the process depends on cultural conventions which operate semiotically rather than mimetically. Not quite an exciting work.

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細讀二、三、四章

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Picturing Heaven in Early China 在线电子书著者简介

Lillian Lan-ying Tseng is Associate Professor at the Institute for the Study of the Ancient World, New York University

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Picturing Heaven in Early China 在线电子书 pdf 下载 txt下载 epub 下载 mobi 在线电子书下载

Picturing Heaven in Early China 在线电子书图书描述

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.

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