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, painting...(展开全部)

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, painting...(展开全部)

黄士珊，耶鲁大学艺术史博士，莱斯大学艺术史教授，研究方向集中于十至十四世纪中国道教和佛教的视觉艺术。《道教天地水三官及南宋中国》曾获耶鲁大学Blanshard奖。著有Picturing the True Form，发表论文多篇。

The world’s preeminent authority on Chinese science explores the philosophy, social structure, arts, crafts, and even military strategies that form our understanding of Chinese science, making instructive comparisons along the way to similar elements of Indian, Hellenistic, and Arabic cultures. A major portion of the book concentrates on Taoist alchemy that led not only to the ...(展开全部)

The world’s preeminent authority on Chinese science explores the philosophy, social structure, arts, crafts, and even military strategies that form our understanding of Chinese science, making instructive comparisons along the way to similar elements of Indian, Hellenistic, and Arabic cultures. A major portion of the book concentrates on Taoist alchemy that led not only to the ...(展开全部)

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...(展开全部)

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...(展开全部)

The Lotus Sutra has been the most widely read and most revered Buddhist scripture in East Asia since its translation in the third century. The miracles and parables in the "king of sutras" inspired a variety of images in China, in particular the sweeping compositions known as transformation tableaux that developed between the seventh and ninth centuries. Surviving examples in m...(展开全部)

The Lotus Sutra has been the most widely read and most revered Buddhist scripture in East Asia since its translation in the third century. The miracles and parables in the "king of sutras" inspired a variety of images in China, in particular the sweeping compositions known as transformation tableaux that developed between the seventh and ninth centuries. Surviving examples in m...(展开全部)

唐小兵，1984年北京大学英语系本科毕业，1991年获美国杜克大学文学博士学位，先后任教于科罗拉多大学、芝加哥大学、南加州大学，2008年迄今为密歇根大学亚洲语言文化系及比较文学系讲席教授。已出版《后现代主义与文化理论：杰姆逊教授讲演录》（1986 ）、《再解读：大众文艺与意识形态》（1993）、《全球空间与现代性的民族主义话语：梁启超的历史思维》（1996）、《中国现代：英雄的与凡人的》（2000）、《中国先锋艺术的起源：现代木刻运动》（2008）、《多重印象：当代中国木版版画）（2011）等。