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Asian Security Handbook: An Assessment of Political-Security Issues in the Asia-Pacific Region (review)

Asian Security Handbook: An Assessment of Political-Security Issues in the Asia-Pacific Region... Reviews 83 field ofresearch in terms oftime, media, the types ofliterature interacting with the visual arts, and the social statuses ofart consumers. NOTES1. The Compelling Image: Nature and Style in Seventeenth-Century Chinese Painting (Cambridge: Harvard University Press, 1982), was based on the Charles Eliot Norton Lectures that Cahill gave in 1979; and Three Alternative Histories ofChinese Painting, the Franklin D. Murphy Lectures, 9 (Lawrence, Kansas: Spencer Museum ofArt, University of Kansas, 1988), was based on lectures he gave in 1987. 2.For example, editors sometimes claim that readers will be unwilling to tum books sideways to see plates. This is given as a reason why book designers do not better utilize available page space to fit the format of the art object. 3.Cahill summarizes this study on pp. 91-92, but cites it repeatedly. See Liu Qiaomei, "Wan Ming Suzhou huihua zhong di shihua guanxi," Yishu xue, no. 6 (September 1991). 4.Alfreda Murck, "The Eight Views ofXiao-Xiang and the Northern Song Culture of Exile," Journal ofSung-Yüan Studies 26 (1996): 113-144. 5.See pp. 52-53, where Cahill writes that Southern Song academic paintings were different from the poems they evoked, because viewers would not have "read" them as personal expressions by the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png China Review International University of Hawai'I Press

Asian Security Handbook: An Assessment of Political-Security Issues in the Asia-Pacific Region (review)

China Review International , Volume 5 (1) – Mar 30, 1998

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Publisher
University of Hawai'I Press
Copyright
Copyright © University of Hawai'I Press
ISSN
1527-9367
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Abstract

Reviews 83 field ofresearch in terms oftime, media, the types ofliterature interacting with the visual arts, and the social statuses ofart consumers. NOTES1. The Compelling Image: Nature and Style in Seventeenth-Century Chinese Painting (Cambridge: Harvard University Press, 1982), was based on the Charles Eliot Norton Lectures that Cahill gave in 1979; and Three Alternative Histories ofChinese Painting, the Franklin D. Murphy Lectures, 9 (Lawrence, Kansas: Spencer Museum ofArt, University of Kansas, 1988), was based on lectures he gave in 1987. 2.For example, editors sometimes claim that readers will be unwilling to tum books sideways to see plates. This is given as a reason why book designers do not better utilize available page space to fit the format of the art object. 3.Cahill summarizes this study on pp. 91-92, but cites it repeatedly. See Liu Qiaomei, "Wan Ming Suzhou huihua zhong di shihua guanxi," Yishu xue, no. 6 (September 1991). 4.Alfreda Murck, "The Eight Views ofXiao-Xiang and the Northern Song Culture of Exile," Journal ofSung-Yüan Studies 26 (1996): 113-144. 5.See pp. 52-53, where Cahill writes that Southern Song academic paintings were different from the poems they evoked, because viewers would not have "read" them as personal expressions by the

Journal

China Review InternationalUniversity of Hawai'I Press

Published: Mar 30, 1998

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