Picturing the True Form 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024

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Shih-shan Susan Huang 作者

Harvard University Asia Center

译者

2012-8-27 出版日期

526 页数

USD 69.95 价格

Hardcover

The Harvard East Asian Monographs 丛书系列

9780674065734 图书编码

Picturing the True Form 在线电子书图书标签: 艺术史道教道教美术海外中国研究宗教黄士珊道教艺术英文

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发表于2024-05-15

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Picturing the True Form 在线电子书 epub 下载 mobi 下载 pdf 下载 txt 下载 2024

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Picturing the True Form 在线电子书用户评价

评分☆☆☆☆☆

先Mark一下反正看了个目录和前言我就跪下了屌的不行。｜是厉害。

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再三荣幸能在莱斯短暂的时间里认识Prof. Huang，当时上她的课Buddhism and Daoism Art用的就是这个课本，应该是西方艺术史学界时隔多年少有的道教研究，也应该是道教图像艺术分析的引领。

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While the world progresses from the Dao to multiplicity, the adept cultivates himself in reverse, returning from multiplicity to the Dao.

评分☆☆☆☆☆

先Mark一下反正看了个目录和前言我就跪下了屌的不行。｜是厉害。

评分☆☆☆☆☆

Picturing the True Form 在线电子书著者简介

莱斯大学艺术史副教授

1991年获台湾大学学士，1995年获台湾大学硕士，2002年获耶鲁大学博士。黄士珊目前的研究集中于十至十四世纪中国道教和佛教的视觉艺术。在莱斯任教前，她曾在华盛顿大学和哥伦比亚大学执教。她的论文《道教天地水三官及南宋中国（1127-1279）视觉文化的创造》曾获得耶鲁大学Blanshard奖项。著有Picturing the True Form: Daoist Visual Culture in Traditional China（2012），并曾在《故宫学术季刊》、《亚洲艺术》、《道教研究》等发表文章。

Picturing the True Form 在线电子书图书目录

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Picturing the True Form 在线电子书图书描述

Picturing the True Form investigates the long-neglected visual culture of Daoism, China's primary indigenous religion, from the tenth through thirteenth centuries with references to earlier and later times. In this richly illustrated book, Susan Huang provides a comprehensive mapping of Daoist images in various media, including Dunhuang manuscripts, funerary artifacts, paintings, and other charts, illustrations, and talismans preserved in the fifteenth-century Daoist Canon. True form (zhenxing), the key concept behind Daoist visuality, is not a static picture but entails an active journey of “seeing” underlying and secret phenomena through a series of metamorphoses.

The book's structure mirrors the two-part Daoist journey from inner to outer. Part I focuses on inner images associated with meditation and visualization practices for self-cultivation and longevity. Part II investigates the visual and material dimensions of Daoist ritual. Interwoven through these discussions is the idea that the inner and outer mirror each other and the boundary demarcating the two is fluent. Huang also reveals three central modes of Daoist symbolism—aniconic, immaterial, and ephemeral—and shows how Daoist image-making goes beyond the traditional dichotomy of text and image to incorporate writings in image design. These particular features distinguish Daoist visual culture from its Buddhist counterpart.

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