Böcker av Wu Hung

Explores the full-length mirror through history, as well as in material culture.

Constructed over a millennium from the fourth to fourteenth centuries CE near Dunhuang, an ancient border town along the Silk Road in northwest China, the Mogao Caves comprise the largest, most continuously created, and best-preserved treasure trove of Buddhist art in the world. Previous overviews of the art of Dunhuang have traced the caves' unilinear history. This book examines the caves from the perspective of space, treating them as physical and historical sites that can be approached, entered, and understood sensually. It prioritizes the actual experiences of the people of the past who built and used the caves.Five spatial contexts provide rich material for analysis: Dunhuang as a multicultural historic place; the Mogao Cave complex as an evolving entity; the interior space of caves; interaction of the visual program with architectural space; and pictorial space within wall paintings that draws viewers into an otherworldly time. With its novel approach to this repository of religious art, Spatial Dunhuang will be a must-read for anyone interested in Buddhist art and for visitors to Dunhuang.

We might think the Egyptians were the masters of building tombs, but no other civilization has devoted more time and resources to underground burial structures than the Chinese. For at least five thousand years, from the fourth millennium B.C.E. to the early twentieth century, the Chinese have been building some of the world's most elaborate tombs and furnishing them with exquisite objects. It is these objects and the concept of the tomb as a "treasure-trove" that The Art of the Yellow Springs seeks to critique, drawing on recent scholarship to examine memorial sites the way they were meant to be experienced: not as a mere store of individual works, but as a work of art itself. Wu Hung bolsters some of the new trends in Chinese art history that have been challenging the conventional ways of studying funerary art. Examining the interpretative methods themselves that guide the study of memorials, he argues that in order to understand Chinese tombs, one must not necessarily forget the individual works present in them--as the beautiful color plates here will prove--but consider them along with a host of other art-historical concepts. These include notions of visuality, viewership, space, analysis, function, and context. The result is a ground-breaking new assessment that demonstrates the amazing richness of one of the longest-running traditions in the whole of art history.

This text raises questions about artistic freedom and censorship. Wu Hung uses the Chinese government's cancellation of the exhibition "It's Me", Beijing 1998, to anchor his analysis of the challenges face by contemporary Chinese artisits and curators.