This book tells the story of how and why millions of Chinese works of art got exported to collectors and institutions in the West, in particular to the United States. As China’s last dynasty was weakening and collapsing from 1860 into the early years of the twentieth century, China’s internal chaos allowed imperial and private Chinese collections to be scattered, looted and sold. A remarkable and varied group of Westerners entered the country, had their eyes opened to centuries of Chinese creativity and gathered up paintings, bronzes and ceramics, as well as sculptures, jades and bronzes. The migration to America and Europe of China’s art is one of the greatest outflows of a culture’s artistic heritage in human history. A good deal of the art procured by collectors and dealers, some famous and others little known but all remarkable in individual ways, eventually wound up in American and European museums. Today some of the art still in private hands is returning to China via international auctions and aggressive purchases by Chinese millionaires.

This book examines the rising global prominence of China’s art market throughout the twentieth and twenty-first centuries. To understand the far-reaching impact of Chinese art on global consumption, this book traces the shift from regional markets to global markets. It asks how the Chinese art market re-emerged from its politicized past, innovated within the private economy boom, remained resilient despite the global financial crisis, and flourished on the global stage despite the COVID-19 pandemic. Ultimately, it argues that cultural entrepreneurship enabled Chinese art professionals to reinvent their space and to participate in the global artworld.

As more parts of the world outside Europe became accessible =– and in the wake of social and technological developments in the 18th century – a growing number of exotic artefacts entered European markets. The markets for such objects thrived, while a collecting culture and museums emerged. This book provides insights into the methods and places of exchange, networks, prices, expertise, and valuation concepts, as well as the transfer and transport of these artefacts over 300 years and across four continents. The contributions are from international experts, including Ting Chang, Nélia Dias, Noëmie Etienne, Jonathan Fine, Philip Jones, Sylvester Okwunodu Ogbechie, Léa Saint-Raymond, and Masako Yamamoto.

The study of provenance—the history of the creation and ownership of an artefact, work of art, or specimen—provides insights into the history of taste and collecting, illuminating the social, economic, and historic trends in which an object was created and collected. It is as much a history of people as it is of objects, and its study often reveals intricate networks of relationships, patterns of activity and motivations. This book promotes the study of the history of collecting and collections in all their variety through the lens of provenance, and explores the subject as a cross-disciplinary activity. Perhaps for the first time in a publication, it draws on expertise ranging from art history and anthropology, to natural history and law, looking at periods from antiquity through the 18th century and the Holocaust era to the present, and materials from Europe and the Americas to China and the Pacific. The issues raised are wide-ranging, touching on aspects of authenticity, cultural meaning and material transformation and economic and commercial drivers, as well as collector and object biography. The book fills a gap in the study of collecting and provenance, taking the subject holistically and from multiple standpoints, better to reflect the widening interest in provenance from a range of disciplinary perspectives. This book will be a service to the field, from established scholars and museum professionals to students of collecting history, cultural heritage, and museum studies.

Launched in 2013, China's Belt and Road Initiative is forging connections in infrastructure, trade, energy, finance, tourism, and culture across Eurasia and Africa. This extraordinarily ambitious strategy places China at the center of a geography of overland and maritime connectivity stretching across more than sixty countries and incorporating almost two-thirds of the world’s population. But what does it mean to revive the Silk Roads for the twenty-first century? Geocultural Power explores this question by considering how China is couching its strategy for building trade, foreign relations, and energy and political security in an evocative topography of history. Until now Belt and Road has been discussed as a geopolitical and geoeconomic project. This book introduces geocultural power to the analysis of international affairs. Tim Winter highlights how many countries—including Iran, Sri Lanka, Kenya, Malaysia, Indonesia, Pakistan, and others—are revisiting their histories to find points of diplomatic and cultural connection. Through the revived Silk Roads, China becomes the new author of Eurasian history and the architect of the bridge between East and West. In a diplomatic dance of forgetting, episodes of violence, invasion, and bloodshed are left behind for a language of history and heritage that crosses borders in ways that further the trade ambitions of an increasingly networked China-driven economy.

This thoroughly researched book provides the first comprehensive history of how a UNESCO World Heritage site on the Central China Plain, Longmen’s caves and the Buddhist statuary of Luoyang, was rediscovered in the twentieth and twenty-first centuries. Drawing on original research and archival sources in Chinese, English, French, German, Japanese, and Swedish, as well as extensive fieldwork, Dong Wang traces the ties between cultural heritage and modernity, detailing how this historical monument has been understood from antiquity to the present. She highlights the manifold traffic and expanded contact between China and other countries as these nations were reorienting themselves in order to adapt their own cultural traditions to newly industrialized and industrializing societies. Unknown to much of the world, Longmen and its mesmerizing modern history takes readers to the heartland of China, known as “Chinese Babylon” a century ago. With remarkable depth and breadth, this book unravels both a bygone and a continuing human pursuit of artefacts—shared, spiritual, modern, and above all beautiful that have linked so many lives, Chinese and foreign.

The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on trans-disciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education.

The Oxford Handbook of American Buddhism offers the most comprehensive and up-to-date scholarship available on Buddhism in America. It charts the history and diversity of Buddhist communities, including traditions and communities that have been previously neglected, and looks at the ways in which Buddhist practices such as mindfulness meditation have been adopted in non-Buddhist settings.

Tang Taizong (Li Shimin), 2nd emperor of the Tang dynasty, commissioned six statues of his favorite warhorses to be carved in stone and serve as part of his political legacy at his mausoleum, Zhao Ling. This book traces the history and significance of these statues, from their creation in 7th-century China, through their removal from the mausoleum in the early 20th c., when two made their way to the United States antiquities market through the dealer C.T. Loo, and ultimately to the Penn Museum. Their time on the art market and subsequent stewardship by the Penn Museum are also explored. Contemporaneous sources and archival records reconstruct the roles of different people, Chinese and Westerners, in the sale of and competition for these stone horses. While underlining their exceptional significance and reconstructing the historical path they traversed, this work serves to bridge the gaps in the shared knowledge of the historical facts pertaining to these horse reliefs and build a common foundation for intercultural dialogue and cooperation surrounding cultural heritage preservation and changing museum practice.

"Featuring 70 works in various media--paintings, calligraphy, photographs, woodblock prints, video, and sculpture--that were created during the past three decades, Ink Art: Past as Present in Contemporary China will demonstrate how China's ancient pattern of seeking cultural renewal through the reinterpretation of past models remains a viable creative path. Although all of the artists have transformed their sources through new modes of expression, visitors will recognize thematic, aesthetic, or technical attributes in their creations that have meaningful links to China's artistic past. The exhibition will be organized thematically into four parts and will include such highlights as Xu Bing's dramatic Book from the Sky (ca. 1988), an installation that will fill an entire gallery; Family Tree (2000), a set of vivid photographs documenting a performance by Zhang Huan in which his facial features--and his identity--are obscured gradually by physiognomic texts that are inscribed directly onto his face; and Map of China (2006) by Ai Weiwei, which is constructed entirely of wood salvaged from demolished Qing dynasty temples." --