The beginning of a New Year is celebrated throughout the world in many different ways. In the UK, this usually involves eating a bit too much, drinking a bit too much and singing ‘Auld Lang Syne’—a Scottish poem by Robert Burns—on the stroke of midnight.
However, with the homogenisation and heterogenization of eastern cultures in the West, the Chinese New Year is also widely celebrated by the British, typically with fireworks, colourful performances and hundreds of lanterns.
So it is with the beginning of the New Year, in both the Gregorian and Lunar calendars, that Cambridge Scholars Publishing has chosen our January ‘Book of the Month’: The Reception of Chinese Art Across Cultures by Michelle Ying-ling Huang.
The Reception of Chinese Art Across Cultures is a collection of essays examining the ways in which Chinese art has been circulated, collected, exhibited and perceived in Japan, Europe and America, from the fourteenth century to the twenty-first. Scholars and curators from East Asia, Europe and North America jointly present cutting-edge research on cultural integration and aesthetic hybridisation in relation to Chinese art and material culture.
To find out more, please click here to read a sample extract and contents page.
We are offering all of our readers a generous 60% discount on this best-selling title. To redeem your discount, please enter the promotional code BOMJAN15 during checkout. Please note that this is a time-limited offer that will expire on 8th February 2015.
Please see below for highlights of the praise this book has been receiving:
“To challenge existing hegemonies within the discipline of art history, we need not only to pay greater attention to non-Western art, but also to stop putting it in a separate conceptual box. Examining the connections between what on the surface may appear to be different artistic traditions is one way to move towards a more joined-up understanding of art history, and The Reception of Chinese Art Across Cultures helps us with that process. Bringing together case studies from a variety of different cultural contexts and time periods, it aids a nuanced understanding of Chinese art’s reception in sites that may be far from those in which it was produced.”
-Professor David Clarke, Department of Fine Arts, University of Hong Kong