隔江山色，江岸送别，山外山 高居翰中国晚期绘画史三部著作
History of Later Chinese Painting, 1279-1950 (图书 3)
￥ 2850 八五品
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北京朝阳
认证卖家担保交易快速发货售后保障
作者James Francis Cahill
出版社Weatherhill; 1st
ISBN9780834801202
出版时间1976-12
装帧精装
上书时间2019-08-09
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*Hills Beyond a River: Chinese Painting of the Yuan Dynasty, 1279-1368 (His a History of Later Chinese Painting, 1279-1950 ; V. 1)
**Parting at the Shore: Chinese Painting of the Early and Middle Ming Dynasty, 1368-1580 (A History of Later Chinese Painting, 1279-1950 ; V. 2)
***Distant Mountains: Chinese Painting Of The Late Ming Dynasty, 1570-1644 (History of Later Chinese Painting, 1279-1950)
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第一版。8 1/2“x 12”精装本用蓝布装订。一本非常好的防尘套里的几近精美的书。这本书的右下角和左下角有一个3/4英寸的湿渍。污点不会影响页面。前盖上边缘的布有1/2“的磨损。沿上页块边缘的灰尘斑点。防尘套在前面板左上边缘有2 1/4“长的磨损。前下折处磨损1 3/4“，后下折处磨损2 1/2”。晒黑夹克的脊骨和内襟翼。
供出售的是3本元明朝时期的詹姆斯·卡希尔中国画精装书：江边的小山，岸边的分离，远处的山峦。所有的书都是第一版，分别于1976年、1978年和1982年出版。由于每本书都有相当数量的下划线，因此将其列为“可接受”。它是由以前的主人用铅笔做的，比平常更轻，但显然这是一个非常显著的缺陷（见最后4张图片）。另外，这些书的开头都有一个压花的所有权封条，河那边的小山在外布上有一些潮湿的污渍（第三张照片——左上角）。这些书的合页很紧，装订很结实。防尘套有一些一般的边角磨损，但没有大的撕裂或碎片。总的来说，如果你能使用上述的下划线，它们是很好的阅读/研究副本。
PARTING of the SHORE : Chinese paintings of the early and middle Ming Dynasty, 1368-1580
in this invaluable book James Cahill again shows that the world of Chinese painting is by no means the exclusive preserve of the specialist but welcomes art lover everywhere, layman and scholar alike. This is the second in a projected series of five volumes on Chinese painting of the later period, that remarkable age of creativity which extends from the thirteenth into the twentieth century.
The book highlights the lives and work of almost 50 artists. It tells of the Ming continuation of major features already evident in the Yuan-the use of past traditions, the effects of historical events and circumstances on developments in painting, the further evolution of the scholar-amateur movement--and also discuss several new aspects of Chinese art. There is more emphasis here on local schools and traditions ad on the relationship between the social and economic status of the artists and their painting styles: between the patterns of their lives and the pictures they painted.
The generous selection of 149 plates, including 14 in full color, presents both notable paintings never before reproduced and more familiar works viewed in a new light. The paintings include landscapes, figures (notably several from the extraordinary hand scroll "beggars and Street Characters," long a popular favorite), birds, flowers, trees, and insects.
With this third volume in James Cahill's ongoing account of later Chinese painting it becomes even clearer what a monumental task the author has set himself and how brilliantly he is accomplishing it. Here again is proof that the remarkable achievements of Chinese art, complex as they are, can be made understandable—and enjoyable—to art lovers anywhere. And the book will be no less welcome to scholars, with its masterly summation of recent research and theory together with the original insights of one of the world's leading authorities in the field.
We turn here to the fascinating but extremely complicated art of the late Ming dynasty, with all its currents and crosscurrents of politics, art, and criticism. The time span is less than a hundred years, encompassing the years from 1570, through the decline of Ming fortunes, to the dynasty's final defeat by the Manchu hordes from the north in 1644. The turbulence of the period was echoed in its art, which saw the creation of some of China's great masterworks. Treated in detail are the lives and works of some forty-two of the period's leading artists.
In the author's words: "Late Ming artists, besides producing a body of extraordinary interesting and sometimes superb paintings, were engaged in intricate ways with the past history of their art, and engaged also with their contemporary theorists in an elaborate interaction, a kind of cultural game that was played with especial intensity in this period. Theirs is often an intellectualized, historically conscious art; we can enjoy the paintings without reference to the issues that surround them, but to do so would be a severely limited reading of them. I have chosen instead to try to present them in all their complexity."
There are over 150 plates, including 19 in color, both of familiar masterworks and of pieces that have seldom or never been seen in the West, culled from leading collections in Asia and the West. This wealth of visual delight and instruction ably reinforces a text that is written with a great facility of style.
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