Here are 100 books that The Cambridge Illustrated History of China fans have personally recommended if you like
The Cambridge Illustrated History of China.
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I am a Professor Emeritus of Comparative Literature at the University of California, Riverside. I was brought up in the family of a Chinese poetry scholar. Arriving in the States for my graduate studies at Harvard in 1982, I have engaged myself in academia here ever since. Acutely aware of, and deeply fascinated by, the cultural similarities and differences of China and the West, I have continued my learning experience, in my thirty years of college teaching, often from direct exchanges with my students. The books on my list of recommendations include both required texts chosen for my courses, and those I want to share with what Virginia Woolf called the Common Reader.
From a leading Western scholar on the topic, it is a comprehensive, well-researched, and highly readable account of Chinese fine arts from the Neolithic to the contemporary. It serves the need of college courses on Asian or Chinese art history as well as the interest of a common reader who wants to explore or better appreciate the aesthetics of Chinese art relics, including bronze, pottery, sculpture, etc., as well as the honorable splendor of calligraphy and painting.
Internationally renowned and a crucial classroom text, The Arts of China has been revised and expanded by the late Michael Sullivan, with Shelagh Vainker. This new, sixth, edition has an emphasis on Chinese art history, not as an assemblage of related topics, but as a continuous story. With updated attributions and dating throughout and a revised bibliography, it reflects the latest archaeological discoveries, as well as giving increased attention to modern and contemporary art and to calligraphy throughout China's history, with additional discussions of work by women artists. Visual enhancements include all new maps, and approximately one hundred new color…
I am a Professor Emeritus of Comparative Literature at the University of California, Riverside. I was brought up in the family of a Chinese poetry scholar. Arriving in the States for my graduate studies at Harvard in 1982, I have engaged myself in academia here ever since. Acutely aware of, and deeply fascinated by, the cultural similarities and differences of China and the West, I have continued my learning experience, in my thirty years of college teaching, often from direct exchanges with my students. The books on my list of recommendations include both required texts chosen for my courses, and those I want to share with what Virginia Woolf called the Common Reader.
How does the Chinese language, with all its linguistic idiosyncrasies, including its structure, implications, and associations of words, auditory effects, and grammatical aspects, serve as a medium of poetic expression? What are some of the traditional Chinese views on poetry? How should one understand Chinese poetry as a way to explore worlds and language per se, its imagery and symbolism, its allusions, quotations and derivations, and its natural tendency towards antithesis? Published nearly six decades ago, this book has not been superseded and, in fact, has become an indispensable classic for the English-speaking reader.
This concise introduction to Chinese poetry serves as a primer for English-speakers eager to expand their understanding and enjoyment of Chinese culture. James J. Y. Liu first examines the Chinese language as a medium of poetic expression and, contrary to the usual focus on the visual qualities of Chinese script, emphasizes the auditory effects of Chinese verse. He provides a succinct survey of Chinese poetry theory and concludes with his own view of poetry, based upon traditional Chinese concepts.
"[This] books should be read by all those interested in Chinese poetry."-Achilles Fang, Poetry
I am a Professor Emeritus of Comparative Literature at the University of California, Riverside. I was brought up in the family of a Chinese poetry scholar. Arriving in the States for my graduate studies at Harvard in 1982, I have engaged myself in academia here ever since. Acutely aware of, and deeply fascinated by, the cultural similarities and differences of China and the West, I have continued my learning experience, in my thirty years of college teaching, often from direct exchanges with my students. The books on my list of recommendations include both required texts chosen for my courses, and those I want to share with what Virginia Woolf called the Common Reader.
This is a singular anthology of pre-modern Chinese travel writing from the first century A.D. to the 19th century, copiously illustrated with paintings, portraits, maps, and drawings. It offers a unique resource for Western travelers to China and for students of Chinese art, culture, history, and literature.
Alongside the scores of travel books about China written by foreign visitors, Chinese travelers' impressions of their own country rarely appear in translation. This anthology is the only comprehensive collection in English of Chinese travel writing from the first century A.D. through the nineteenth. Early examples of the genre describe sites important for their geography, history, and role in cultural mythology, but by the T'ang dynasty in the mid-eighth century certain historiographical and poetic discourses converged to form the 'travel account' (yu-chi) and later the 'travel diary' (jih-chi) as vehicles of personal expression and autobiography. These first-person narratives provide rich…
I am a Professor Emeritus of Comparative Literature at the University of California, Riverside. I was brought up in the family of a Chinese poetry scholar. Arriving in the States for my graduate studies at Harvard in 1982, I have engaged myself in academia here ever since. Acutely aware of, and deeply fascinated by, the cultural similarities and differences of China and the West, I have continued my learning experience, in my thirty years of college teaching, often from direct exchanges with my students. The books on my list of recommendations include both required texts chosen for my courses, and those I want to share with what Virginia Woolf called the Common Reader.
The handsome hardback volume, enriched by colored photos, consists of essays from a variety of contributors, including an art historian, a botanist, and literary scholars. It introduces to the reader the construction of Liu Fang Yuan, the Garden of Flowing Fragrance, the largest Chinese garden outside China, and discusses its aesthetics in Chinese culture and civilization. It provides a valuable guide for both lovers of gardens and students of garden architecture.
From the Lake of Reflected Fragrance to the Pavilion for Washing Away Thoughts to the Isle of Alighting Geese, this gorgeously illustrated volume explores the Huntington's Chinese Garden - Liu Fang Yuan, or the Garden of Flowing Fragrance - one of the largest such gardens outside China. With the first phase of construction completed, the garden opened to visitors in early 2008. It resembles those created in seventeenth-century Suzhou, offering awe-inspiring views and architecture and evoking an era when scholars sought quiet, intimate gardens in which to retreat, write poetry, and practice calligraphy, among many other pursuits.The contributors to "Another…
I’m a historian, educator, and author with an abiding interest in stories that help bridge cultural divides. I first encountered tales of China as an elementary school student in Singapore. Years later, I studied Chinese and backpacked through China, after which I earned my M.A. in Asian Studies. I would go on to become a high school instructor, and this experience helped me teach AP World History ™ and IB (International Baccalaureate) History. I began writing my Jackie Tempo series as a way of providing accessible content in the classroom. Historical fiction has always helped provide deeper context for me and my students.
The late and renowned sinologist Wm. Theodore de Bary first published his groundbreaking, two-volume Sources of Chinese Tradition in 1960, to such favorable reception that it prompted a second edition, updated to incorporate additional sources that reflect late twentieth-century considerations, including gender and sexuality.
Volume I offers invaluable sources on Early Classical Chinese philosophy. The select writings of Confucius, Mencius, Lao Tze, for example, are excellent source material for educators looking for primary source documents and readers of Chinese antiquity (to 1644) wishing to engage in independent reading and research.
This book was one of several in “Asia through Fiction,” an undergraduate course I took which changed the course of my life in more ways than one. Not only did I meet my future husband our last year of university, but we also lived in Taiwan and backpacked around Mainland China the following year. This text helped deepen our appreciation…
A collection of seminal primary readings on the social, intellectual, and religious traditions of China, Sources of Chinese Tradition, Volume 1 has been widely used and praised for almost forty years as an authoritative resource for scholars and students and as a thorough and engaging introduction for general readers. Here at last is a completely revised and expanded edition of this classic sourcebook, compiled by noted China scholars Wm. Theodore de Bary and Irene Bloom. Updated to reflect recent scholarly developments, with extensive material on popular thought and religion, social roles, and women's education, this edition features new translations of…
I chose the dramatic backdrop of the Tiananmen massacre because after my first trip to China in the 1980’s I became a host family for mainland students studying at UCLA where I was Medical Director of Student Health. During those weeks in 1989 many students communicated with friends and family back in China using our fax machine. From their perspective, the conflict was a generational struggle between the very old leaders, many of whom marched with Mao and who were desperate to hang onto power (and therefore for my plot would want to get their hands on an elixir to double their lifespan), and the younger generation anxious for reforms.
This is the second book by Peter Hessler that I have read (River Town was the first). Having visited China several times since the 1980s, when the country was first open to visitors from the West to my more recent trips, I have seen so much change. What I like about this book is how Hessler, a reporter who has lived and taught English in China, tries to describe and explain these changes.
Peter Hessler's previous book River Town was a prize-winning, poignant and deeply compelling portrait of China. Now, in Oracle Bones, Hessler returns to the country, excavating its long history and immersing himself in the lives of young Chinese as they migrate from the traditional Chinese countryside to the booming ever-changing cities and try to cope with their society's modern transformation.
Tamim Ansary is the son of an Afghan father and an American mother. As a writer, growing up in Afghanistan and growing old in America has drawn him to issues that arise from cultural confusion in zones where civilizations overlap. His books include histories and memoirs, which he considers two sides of the same coin: a memoir is history seen up close, history is memoir seen from a distance. Much of his work explores how perspective shapes perceptions of reality—a central theme of his best-known book, Destiny Disrupted, A History of the World Through Islamic Eyes.
Culture is how we group ourselves. Culture is how we see. To make ourselves understood by people of other cultures, we have to lend them our eyes. That’s hard, but Yu Hua meets that challenge for me. His book China in Ten Words offers ten essays about China, each with a one-word title: Revolution. Reading. Copycat. Words like that. Each essay surrounds its title-word with content until one understands what the word means, not to oneself, but to Hua. The essays work like a fusion of memoir and history. They draw the reader into one man’s experience; and at the same time they illuminate a broad patch of history—Maoist and post-Maoist China.
People. Leader. Reading. Writing. Revolution. Grassroots. Through these and other common vernacular words and phrases, Yu Hua - widely regarded as one of China's greatest living writers - frames powerful personal stories of the Chinese experience from the Cultural Revolution to the 2010s. With wit, insight and courage, he presents a refreshingly candid vision of the 'Chinese miracle' and its consequences, and reveals a unique perspective on the world's most populous yet misunderstood nation.
Yuan, born in a small town in Inner Mongolia, is a researcher and PhD candidate at Rutgers University. He is an expert on Chinese and East Asian studies. Yuan's research interests include Chinese foreign and domestic policy, Sino-US relations, and how the country utilizes its influence and fosters relationships. He received his MS in International Relations from Northeastern University and BA from Centre College. Yuan has written extensively on China and Chinese foreign policy.
This fascinating book explains China from a historical perspective. It presents a detailed look at how China has transformed from its past to today, from the Middle Kingdom to Red Communist. 4,000 years of history is almost impossible to fit in a single-volume book, yet this book did its best and successfully summarized the most fundamental parts of the country’s history, introducing one of the oldest civilizations alive on earth to those who wish to learn more about China.
A single volume history of China, offering a look into the past of the global superpower and its significance today.
Michael Wood has travelled the length and breadth of China, the world’s oldest civilization and longest lasting state, to tell a thrilling story of intense drama, fabulous creativity, and deep humanity that stretches back thousands of years.
After a century and a half of foreign invasion, civil war, and revolution, China has once again returned to center stage as a global superpower and the world’s second largest economy. But how did it become so dominant? Wood argues that in order…
I became interested in East Asia through studying Kung Fu when I was in high school. Through this I began reading translation of Chinese and Japanese philosophical texts. I initially majored in philosophy but eventually also became interested in situating ideas in broader historical contexts. For this reason, I shifted to intellectual history. However, my passion for philosophy and arguments for the validity of ideas remains. For this reason, my work combines both intellectual history and the history of philosophy.
Wang Hui changed the way I look at Chinese intellectual history and the above book is a translation of the introduction to his magnum opus,The Rise of Modern Chinese Thought. The book argues for an indigenous proto or early modernity emerging during the Song Dynasty or the tenth century in China. He shows how Chinese thinkers expressed ideas of equality and had fairly sophisticated bureaucracies by the tenth century. Moreover, through his analysis, he challenges the distinction between the nation-state and empire. Normally, we think of modernity as connected to premodernity and the nation connected to the modern. However, looking at the Chinese context, Wang shows that although the Song had certain characteristics of a nation-state, the Yuan was an empire, followed by the Ming, which again resembled a nation, but this was followed by the Qing, which was another multi-ethnic empire. Moreover, each of these dynasties continued…
This translation of the introduction to Wang Hui's Rise of Modern Chinese Thought (2004) makes part of his four-volume masterwork available to English readers for the first time. A leading public intellectual in China, Wang charts the historical currents that have shaped Chinese modernity from the Song Dynasty to the present day, and along the way challenges the West to rethink some of its most basic assumptions about what it means to be modern.
China from Empire to Nation-State exposes oversimplifications and distortions implicit in Western critiques of Chinese history, which long held that China was culturally resistant to modernization,…
When I was a teenager, I thought we could create a perfect world—or if not quite perfect, at least much, much better than the one we are currently destroying. Actually, I still think it’s possible, just a lot harder and a lot more dangerous than I originally thought. I’ve been interested in all the efforts to imagine and create utopias, which sometimes produce hells instead of heavens, ever since. I have evolved (I think it’s progress) from being a high school Maoist to something more mature while watching China’s attempts to improve the lives of its citizens with respect and sympathy.
What the Manuels did for the West, Bauer did for China. Sometimes we think of the Chinese as eminently practical people, but they had their dreams of perfect worlds as well. And these dreams were not necessarily kept to the world of sleep but found expression in the lives of individuals and communities. The Manuels confronted the fact that dreams fade with a touch of cynicism, Bauer with a touch of melancholy.
