On Chinese Body Thinking: A Cultural Hermeneutic (Philosophy of History and Culture)

Book Description

This book uses Western philosophical tradition to make a case for a form of thinking properly associated with ancient China. The book's thesis is that Chinese thinking is concrete rather than formal and abstract, and this is gathered in a variety of ways under the symbol "body thinking". The root of the metaphor is that the human body has a kind of intelligence in its most basic functions. When hungry the body gets food and eats, when tired it sleeps, when amused it laughs. In free people these things happen instinctively but not automatically. The metaphor of body thinking is extended far beyond bodily functions in the ordinary sense to personal and communal life, to social functions and to cultivation of the arts of civilization. As the metaphor is extended, the way to stay concrete in thinking with subtlety becomes a kind of ironic play, a natural adeptness at saying things with silences. Play and indirection are the roads around formalism and abstraction. Western formal thinking, it is argued, can be sharpened by Chinese body thinking to exhibit spontaneity and to produce healthy human thought in a community of cultural variety.

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STORYBOOK STYLE
Thrilled to find this book!
Rare original idea
Whodathunkit - a page-turner architecture book!
Homes out of Hollywood fantasy land

Storybook Style
Arrol Gellner , and Douglas Keister
Manufacturer: Studio
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Binding: Hardcover

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ASIN: 0670893854
Release Date: 2001-10-11

Book Description

In the tradition of the Bungalow series, here is a marvelous celebration of the twentieth century's most delightful and whimsical architectural style

Storybook Style, the rambunctious evocation of medieval Europe in American housing, was born in the early 1920s and almost forgotten by the late 1930s. It took its inspiration from the Hollywood sets that enthralled Americans of the period and that still appeal to our jaded modern eye. Half timbered and turreted, pinnacled and portcullised, these houses owed their fanciful bravura to architects and builders with theatrical flair, fine craftsmanship, and humor. In Storybook Style, architectural information enhances the stunning color pictures by Bungalow and Painted Ladies photographer Doug Keister to impart a wealth of information and enjoyment.

Photography by Douglas Keister.

Customer Reviews:

STORYBOOK STYLE.......2007-01-10

A BEAUTIFUL LOOK AT WHIMSICAL HOMES FOR THE YOUNG AT HEART - THE BEST I'VE SEEN ON THE SUBJECT -

Thrilled to find this book!.......2005-06-08

I happened upon this book on Amazon last year - shortly after purchasing my very first home - a little storybook cottage. I've always adored this style of home but never knew what to call them. I was so happy to find this book and see someone had come up with a name for these enchanting homes. This book has brought me hours of enjoyment. I read it cover to cover immediately but I look through it over and over again. It has been such a help in giving me inspiration and information for the restoration of my little storybook home. I cannot sing enough praises for this book - my only complaint - I want another volume. If a Storybook Style 2 were to be published - I would buy it the very day it came out!!!!

This book is both informative and beautiful. It's a must for any storybook owner and anyone that is interested in architectural styles or anyone wishing to create their own storybook home.

Rare original idea.......2003-10-10

My first impression of this book was that it was a trifle; once I started to read it though, I discovered it was surprisingly substantial. What a joy to look at these quaint medieval-inspired houses. Lots of them, and all those turrets! You won't find mention of this phenomenon in any of the popular books on house styles, and the author deserves credit for documenting it.

The book displays a professional knowledge of architecture, unlike many in this category which seem to be written by art historians, and you can rest assured the author will not confuse a mullion with a muntin, or claim, as another one once did, that Tudor is an early Rennaissance style. (Although he happens to be incorrect in saying "terra cotta" means "hollow tile"; it means "baked earth".)

No vacant catalog-esque prose here; the author knows his subject and enjoys telling others about it.

Whodathunkit - a page-turner architecture book!.......2003-09-17

5 stars plus! A book to delight the heart! It's so well-written you don't want to stop reading, yet you want to see what delight awaits on the next page. My suggestion - page through and look at all the pictures - then go back and read it all. Great job - please do another one!
These guys did a similar book called Red Tile Style, on spanish revival architecture - if you like this one, check it out- it's also very well done.

Homes out of Hollywood fantasy land.......2003-03-26

Idea books for cottages and cottage detailing don't get much better than this. This book tells the story of the emergence of the Storybook style in the early part of the 20th century-- a style that came right out of the fantasy world of Hollywood. In fact, many of the homes featured in this book were commissioned by the movie folk of this era. This is a larger format book-- and you'll be glad it is when you see the pictures!

Byzantine Dress: Representations of Secular Dress in Eighth- to Twelfth-century Painting (The New Middle Ages)

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Byzantine Dress: Representations of Secular Dress in Eighth- to Twelfth-century Painting (The New Middle Ages)
Jennifer L. Ball
Manufacturer: Palgrave Macmillan
ProductGroup: Book
Binding: Hardcover

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philosophy hope in a jar daily moisturizer

ASIN: 1403967008
Release Date: 2006-01-19

Book Description

In Byzantium two overlapping systems of dress existed: a semiotic one whereby dress was a code for rank and wealth; and a fashion system where dress was based on the desire to look a certain way. Courtiers participated in a semiotic system of dress, but fashion crept into their prescribed outfits; the nobility chose their clothing based primarily on individual taste, but status was encoded within their fashions. This book elucidates secular dress from the eighth to the twelfth centuries through an examination of painted representations, helping the reader to envision an entire society of dressed citizens.

Western Decorative Arts (The Collections of the National Gallery of Art Systematic Catalogue)

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Western Decorative Arts (The Collections of the National Gallery of Art Systematic Catalogue)
Alison Luchs
Manufacturer: Cambridge University Press
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Binding: Hardcover

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ASIN: 0521470684

Book Description

This volume is one of several that examine the National Gallery of Art's distinguished collection of decorative arts. The group treated here is composed primarily of works acquired from the Widener Collection, and amplified by holdings acquired from the Kress family. Included are more than
eighty Medieval, Renaissance, and historicizing objects in a wide variety of media, encompassing metalwork, stained glass, enamels, ceramics, and jewels. Among the highlights are a Limoges reliquary chasse, a Mosan lion aquamanile, thirty-eight pieces in a cohesive group of Italian maiolica, three
of the very rare French pottery objects known as "Saint-Porchaire," and, the centerpiece of the collection, the Suger chalice, an ancient sardonyx cup to which the Abbot Suger added a bejewelled golden setting in the twelfth century.

Like other volumes in the Systematic Catalogue of the National Gallery of Art Collections, Western Decorative Arts includes a thoroughly researched entry for each object, together with an artist biography, up-to-date bibliography, and a technical analysis.

The Ocean of the Soul: Men, the World and God in the Stories of Farid Al-Din Attar (Handbook of Oriental Studies/Handbuch Der Orientalistik)

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The Ocean of the Soul: Men, the World and God in the Stories of Farid Al-Din Attar (Handbook of Oriental Studies/Handbuch Der Orientalistik)
Hellmut Ritter
Manufacturer: Brill Academic Publishers
ProductGroup: Book
Binding: Hardcover

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ASIN: 9004120688

Book Description

The Ocean of the Soul is one of the great works of the German Orientalist Hellmut Ritter (1892-1971). It presents a comprehensive analysis of the writings of the mystical Persian poet Farīd al-Dīn `Aṭṭār who is thought to have died at an advanced age in April 1221 when the Mongols destroyed his home city of Nīshāpūr in the north-east of Iran. The book, which resulted from decades of investigation of literary and historical sources, was first published in 1955 and has since remained unsurpassed not only as the definitive study of `Aṭṭār's world of ideas but as an indispensable guide to understanding pre-modern Islamic literature in general.

Quoting at length from `Aṭṭār and other Islamic sources, Ritter sketches an extraordinarily vivid portrait of the Islamic attitude toward life, characteristic developments in pious and ascetic circles, and, in conclusion, various dominant mystical currents of thought and feeling.

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One of the best armour books ever written!.......2006-05-18

This is a highly detailed study of the metallurgy of medieval and Renaissance armour. It reveals some surprising facts and challenges some commonly held beliefs. The level of accuracy and detail are unmatched in this book. It features hundreds of pieces of armour from collections all over the world.

I highly recommend this book!

Working With Water in Medieval Europe: Technology and Resource-Use (Technology and Change in History)

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Working With Water in Medieval Europe: Technology and Resource-Use (Technology and Change in History)

Manufacturer: Brill Academic Publishers
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ASIN: 9004106804

Painting in Florence and Siena after the Black Death

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Art changes after the Black Death

Painting in Florence and Siena after the Black Death
Millard Meiss
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0691003122

Book Description

Here-in a rich interweaving of considerations of connoisseurship, style, iconography, cultural and social background, and historical events-is the first extended study of the history of Florentine and Sienese painting in the later fourteenth century, in the period following the plague of the Black Death 1348.

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Art changes after the Black Death.......2007-04-27

Andrea Da Firenze, Spanish Chapel of Santa Maria Novella, "Christian Learning" 1365-67. Fig. 95, Old and New testament figures mixed on top tier. Often Old Testament figures have a New Testament saint associated with them. 3 Figures of heretics at feet of St. Thomas Aquinas. 7 Virtues are floating above them. From left to right are,3 up top are Faith, hope, and charity. 4 below are temperance, prudence, justice and fortitude. Row below, left to right are 7 theological sciences, 7 liberal arts is: arithmetic, geometry, astronomy, music, logic, rhetoric, grammar. Firenze is anal retentive painter and very orderly in his composition.

Painting by Andrea Da Firenze Florentine school active, 1343-77 painting entitled "The Way of Salvation." Triumph of the Dominicans. In chapel of Cappella Spagnuolo, Santa Maria Novella, Florence, it is Dominican whose habits are black and white. Has 4 beasts representing the Gospels. Dominicans portrayed as teaching to the masses, giving absolution, St.Peter at the gates. Nude people in trees represent lust in church art. Figures are sized to show status. 3 Kings to right of Pope, Cardinal to the left. 3 Jews shows how Dominicans are responsible for trying to convert Jews, dogs depicted black and white like the habits because they are known as Domini Cannae, "Hounds of God" which is what the word Dominican means, they are attacking wolves who represent heresy. From 1231 on Dominicans are in charge of the Inquisitions in Europe. This painting is done to celebrate and teach of their successes.

1498, picture of landscape of city square of Florence, plague kills 70% of population. Paintings "Palazio Vechio which is the city hall. Signori have 2-month terms, they live there and don't get visitors so that they can't be bribed. Housing is densely packed walled city. Florence is known for Sodomy. 14 century artist and most famous painter is Giotto. He worked in wet fresco. Arena chapel in Padua "Joachim Expelled from the Temple" Fig. 35. 1305-12. Figures are real, they have weight and are standing on a surface. Figures are full and not emaciated like Middle Ages figures. Still people not to scale to surroundings. Giotto is considered the "Master" by his contemporaries. Uses good skin tones, figures have depth. He shows emotion and physicality, it foreshadows Renaissance of man in image of God.

Giotto's "Madonna" Enthroned Uffizi, Florence Fig. 10. is more realistic, looks like she is sitting and not floating. People are looking at Madonna, real sense of depth. There is real veneration of Virgin before the plague. Panel painting is big in Italy. Tempura (egg yoke) painting is used on wood panels allot.

Giotto's "Death of St. Francis" 1330's Art historians say it may be first Rennaisance painting. Figures very real, full figures, expressive faces, lots of emotion in painting. St. Francis had stigmata, monks, kissing his wounds.

Giotto di Bondone (Colle di Vespignano, near Florence 1267 - January 8, Florence 1337), better known simply as Giotto, was a Florentine painter and architect. He is generally considered the first in a line of great artists who contributed to and developed the Italian Renaissance.
Giotto was born in poverty in the countryside near Florence, the son of Bondone, a peasant, and was himself a shepherd. Most authors believe that Giotto was his real name, and not an abbreviation of Ambrogio (Ambrogiotto) or Angelo (Angelotto). Giotto's master work is the Arena Chapel cycle of the Cappella degli Scrovegni in Padua depicting the life of the Virgin and the passion of Christ completed around 1305. The scheme has 100 major scenes with the heavily sculptural figures set in compressed but naturalistic settings often using forced perspective devices. Giotto's major innovation was to conceive of a painted architectural framework or grisaille using trompe-l'oeil effects that directly influenced Masaccio and in turn Michelangelo in his scheme for the Sistine Chapel. Famous panels in the series include the Adoration of the Magi in which a comet like Star of Bethlehem streaks across the sky and the Flight from Egypt in which Giotto broke many traditions for the depiction of the scene. The scenes from the Passion were much admired by artists of the Renaissance for their concentrated emotional and dramatic force, especially the "Lamentation over the Dead Christ", and studies of the sequence by Michelangelo exist. The Ognissanti Madonna now in the Uffizi and the sole surviving major panel work by the artist also dates from this period. In the fourteenth century Pope Benedictus XII was selecting artists to work for the Vatican, requesting from each applicant a sample of his ability. Although the Florentine painter Giotto was known as a master of design and composition, he submitted only a circle drawn freehand, the famous "0 of Giotto." Yet he was awarded the commission. Giotto's simple circle has been described as an ideal of elegance and perfection. At the request of the Pope, Giotto spent ten years in Rome. He was then employed by the King of Naples but little work remains from this period.
After 1320 Giotto returned to Florence, where he completed two fresco cycles and a number of altar pieces for the church of Santa Croce. Both of the fresco groups were badly damaged, though they show that in later years Giotto's style had become more ornate, perhaps as a response to the emerging International Gothic style. In 1334 Giotto was appointed chief architect to Florence Cathedral of which the Campanile bears his name, but was not completed to his design.

In his final years Giotto became friends with Boccaccio and Sacchetti, who featured him in their stories. In The Divine Comedy, Dante acknowledged the greatness of his living contemporary through the words of a painter in Purgatorio (XI, 94-96): "Cimabue believed that he held the field/In painting, and now Giotto has the cry,/ So the fame of the former is obscure." Giotto died while working on a "Last Judgement", including a portrait of Dante, for the Bargello Chapel in Florence.

Giovanni da Milano- not as intimate as Giotto's. His pictures not as intimate as Giotto's. His "Expulsion of Joachim 1365, Fig. 36 in Santa Croce Florence, all the women look the same, figures have no heft. No realism, it is a hierarchial piece not intimate. Giotto's "Meeting at the Golden Gate" 1305-1312 Fig. 26. Anna and Joachim have real emotion, embrace and kiss. Milano's same work in 1365 Fig. 27., Anna and Joachim not even looking at each other.
Giovanni da Milano (Giovanni di Jacopo di Guido da Caversaccio) was an Italian painter, known to be active in Florence and Rome between 1346 and 1369.

His style is, like many Florentine painters of the time, considered to be derivative of Giotto's. Vasari misidentified him as a student of Taddeo Gaddi, a noted Giotto protégé.
Hailing from Lombardy, the earliest documentation shows Giovanni in Florence on October 17, 1346, under the name Johannes Jacobi de Commo, listed amongst the foreign painters living in Tuscany.

Amongst Giovanni's most significant works:
* A polyptych with Madonna and Saints (c. 1355), the oldest known signed work by Giovanni da Milano, painted for the Prato Spedale della Misericordia
* A polyptych made for the Ognissanti of Florence (c. 1363), now dismembered and scattered, depicting saints and scenes of the Creation
* Man of Sorrows panel (c. 1365, Accademia, Florence), the oldest known signed and dated work
* Frescoes decorating both sides of the Rinuccini Chapel in Santa Croce, Florence. Each side consists of five scenes - one side depicting the Life of the Virgin and the other the Life of Mary Magdalene. Giovanni is credited with the upper two registers of each cycle. The bottom register is credited to Matteo di Pacino.

The latest extent documentation of Giovanni's career comes in 1369, when he is known to be working in Rome for Pope Urban V with Giottino and the sons of Taddeo Gaddi
Andrea di Cione di Arcangelo altarpiece of The Redeemer with the Madonna and Saints (1354-57) in the Strozzi family Chapel. Fig. 1. Florence Meiss does a lot on this piece in his book. This work is very Byzantine in nature. No depth Jesus is iconic, flat. A lot of gold. Jrsus giving the keys to St. Peter, scripture to St. Thomas Aquinas, St. John the Baptist always with ratty clothes and hair, virgin Mary always in blue, she has crown making her "Queen of Heaven, painting has Trinitarian reference.
Andrea di Cione di Arcangelo (c.1308-1368), better known as Orcagna, was a Florentine painter, sculptor and architect. A student of Andrea Pisano as well as Giotto di Bondone, his brothers Jacopo and Nardo di Cione were also artists. His works include the altarpiece of The Redeemer with the Madonna and Saints (1354-57) in the Strozzi Chapel, Santa Maria Novella and the tabernacle in Orsanmichele (finished 1359 which was regarded as "the most perfect work of its kind in Italian Gothic". His fresco The Triumph of Death inspired Franz Liszt's masterwork Totentanz, by general consent the finest of his concerto works.

Taddeo Gaddi- Florentine, very surreal look in his work The Angelic Announcement to the Shepherds 1328-1330 very real and detailed.

Taddeo Gaddi (c.1300-1366) was an Italian painter and architect, active during the early Renaissance. As a painter, he created altar-pieces and murals and is primarily noted as a pupil and follower of Giotto. As an architect, he is credited with the design of the Ponte Vecchio.
Life and Art Son of Gaddo Gaddi, an artist of whom little is known, Taddeo's art education came primarily as a pupil of, and assistant to, the painter Giotto di Bondone. Cennino Cennini referred to Taddeo as Giotto's godson and claimed that their relationship lasted 24 years.
Early works such as the The Stigmatization of Saint Francis (c.1325-1330, tempera on wood panel) demonstrate a subtle recasting of Giotto's style. Perhaps his most famous works are the series of frescoes depicting the lives of the Virgin and of Christ in the Giugni Chapel (neé Baroncelli Chapel) at Santa Croce in Florence (1328-38). The Angelic Announcement to the Shepherds (depicted at right) illustrates Taddeo's interest in light and its effects. His study of solar eclipses in particular would eventually lead to serious eye injury in 1339. As an architect, Taddeo Gaddi is credited with the design of the Ponte Vecchio in Florence, as well as the Ponte Trinita, which was destroyed in the 16th century.

Two facts point to Taddeo Gaddi's importance as a Florentine artist:
1. Giorgio Vasari included a biography of Taddeo Gaddi in his Lives.
2. Taddeo's name appears atop a list of 'the best masters of painting who are in Florence'.

Styles of Florence vs. Sienna- Duccio most famous 14 century painter in Sienna. "Entrance into Jerusalem" 1308-11 Sienna painters were more conservative for a longer period of time. Face are not individualized, do more miniature works, no depth.

Duccio di Buoninsegna (c. 1255-1260, Siena - c. 1318-1319, Siena) was the most influential Sienese artist of his time and one of the key figures in the development of European painting. Duccio is considered to have had a major influence on the formation of the International Gothic style, and to have influenced Simone Martini and the brothers Ambrogio and Pietro Lorenzetti, among others.

His works include the Rucellai Madonna (1285) for Santa Maria Novella (now in the Uffizi) and the fabled Maestà (1308-11), his masterpiece, for Siena's cathedral. Originally carried through the streets of Siena in a religious ceremony, the multipaneled Maesta represented a major step forward in painterly style and narrative storytelling through visual art. His Madonna and Child, painted on a wood panel around the year 1300, was purchased in November 2004 by the Metropolitan Museum of Art in New York City for an estimated sum in excess of 45 million USD, the most expensive purchase ever by the mueum. In 2006 James Beck, a scholar at Columbia University stated that he believes the painting is a nineteenth century forgery; the Metropolitan Museum's curator of European Paintings has disputed Beck's assertion.
Simone Martini- Sienna painter famous "Annunciation" 1333 is famous. International Gothic school. Slender figures.

Simone Martini (c. 1284 - 1344) was an Italian painter born in Siena.
He was a major figure in the development of early Italian painting and greatly influenced the development of the International Gothic style. It is thought that Martini was a pupil of Duccio di Buoninsegna, the leading Sienese painter of his time. His brother-in-law was the artist Lippo Memmi. Very little documentation survives regarding Simone's life, and many attributions are debated by art historians. Simone Martini died while in the service of the Papal court at Avignon in 1344. Simone was doubtlessly apprenticed from an early age, as would have been the normal practice. Among his first documented works is the Maestà of 1315 in the Palazzo Pubblico in Siena. A copy of the work, executed shortly thereafter by Lippo Memmi in San Gimignano, testifies to the enduring influence Simone's prototypes would have on other artists throughout the fourteenth century. Perpetuating the Sienese tradition, Simone's style contrasted with the sobriety and monumentality of Florentine art, and is noted for its soft, stylized, decorative features, sinuosity of line, and unsurpassed courtly elegance. Simone's art owes much to French manuscript illumination and ivory carving: examples of such art were brought to Siena in the fourteenth century by means of the Via Francigena, a main pilgrimage and trade route from Northern Europe to Rome. Simone's major works include the Maestà (1315) in the Palazzo Pubblico in Siena, St Louis of Toulouse Crowning the King at the Museo di Capodimonte in Naples (1317), the S. Caterina Polyptych in Pisa (1319) and the Annunciation and two Saints at the Uffizi in Florence (1333), as well as frescoes in the Chapel of St. Martin in the lower church of the Basilica of San Francesco d'Assisi. Francis Petrarch became friend with Simone while in Avignon, and two of his sonnets make reference to a portrait of Laura de Noves he supposedly painted for the poet.

Bonaventura Berlinghieri 1235 vs. Giovanni del Biondo 1366, styles are the same frontal figures conservative depictions.

History of Urban Form: Before the Industrial Revolution

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introduction to cities
History of Urban Form: A seminal work.
not as imagine

History of Urban Form: Before the Industrial Revolution
A.E.J. Morris , and A.E. Morris
Manufacturer: Prentice Hall
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ASIN: 0582301548

Book Description

Provides an international history of urban development, from its origins to the industrial revolution. This well established book maintains the high standard of information found in the previous two editions, describing the physical results of some 5000 years of urban activity. It explains and develops the concept of 'unplanned' cities that grow organically, in contrast with 'planned' cities that were shaped in response to urban form determinants. Spread throughout the texts are copious illustrations from a wealth of sources, including cartographic urban records, aerial and other photographs, original drawings and the author's numerous analytical line drawings.

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introduction to cities.......2007-01-04

this book is a wonderful introduction to understanding the origins of cities in human civilization. its extensive illustrations and photographs help to show the development of cities up to modern day. i am studying geography and found this book to be an invaluable text.

History of Urban Form: A seminal work........2006-03-03

This book is seminal and contains a wealth of information. The 3rd edition is, however, severely fragmented with Islamic cities addressed in two unrelated chapters and Japanese and Chinese urbanism as annexures! captions and references are in a very small font, as are some illustrations, making them irritatingly difficult to read. But for an overview of pre-industrial urbanism ... a must buy!

not as imagine.......2005-09-01

the description said the book is still new, but it arrived stink and looking pretty old. overall, it's usable, but less than what i expected. the seller should have given better and more honest description. also, the packaging was really bad. not protective at all.

Israel at Vanity Fair: Jews and Judaism in the Writings of W.M. Thackeray (Brill's Series in Jewish Studies, Vol 2)

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Israel at Vanity Fair: Jews and Judaism in the Writings of W.M. Thackeray (Brill's Series in Jewish Studies, Vol 2)
Siegbert Salomon Prawer
Manufacturer: Brill Academic Publishers
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Book Description

The book seeks, for the first time in any language, to combine Thackeray's many depictions of, and comments on, Jews and Judaism, from Old Testament times to his own present, into a coherent, chronologically ordered narrative. Texts and early versions that have not found their way into the collected editions are considered alongside well-known passages from Barry Lyndon, Vanity Fair, The Newcomes and Rebecca and Rowena. Since Thackeray illustrated many of his own works, graphic illustrations are as carefully chronicled and considered as narrative ones. The writings and drawings examined are set in a fourfold context: Thackeray's own life, psychological make-up, and developing art and opinions; the social history of Britain and its Jews; British and European literary and graphic conventions, traditions, and stereotypes; and the interplay of prejudice or animus with an essential British fair-mindedness that strives to present as truthful a picture as the author's limited perspectives, or satiric and humorous purposes, will allow. The book constitutes a substantial addition to the existing body of studies devoted to the image of Jews and Judaism in the work of influential non-Jewish writers and artists.

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