Defying a brutal Kuomintang officer, she is swept to an electrifying first meeting with Dr. Jen Yong, a handsome, dedicated and compassionate Chinese surgeon. For Yong, a sexual liaison with an American woman could mean a death sentence. For Stephanie, an affair with an Asian man would cause an irreparable breach with her Texas millionaire father. But just when dangers to threatens to separate them forever, their passion bursts into flame, and carries them on a fabulous romantic journey from the stormy depths of fear and desire, to the moving affirmation that enduring love is truly a many-splendored thing

    Penetrates the soul of this intricate and mysterious nation.

    The author of Camel Xiangzi (Rickshaw Boy) and the drama Teahouse, Lao She died in 1966, leaving Beneath the Red Banner unfinished. It is an account of life in Beijing at the turn of the century and is told with great wit and warmth, candour and sympathy.(back cover)

    With a graceful authority, James Cahill explores the radiant painting of that tumultuous era when the collapse of the Ming Dynasty and the Manchu conquest of China dramatically changed the lives and thinking of artists and intellectuals.The brilliant masters of the seventeenth century were reconsidering their artistic relationship to nature and to the painting of earlier times, while European pictorial arts introduced by Jesuit missionaries were profoundly influencing Chinese techniques. The reader/viewer is presented with a series of crucial distinctions of style and approach in a richly illustrated book that illuminates the whole character of Chinese painting. Cahill begins with a relatively neglected artist, Chang Hung, who moved traditional forms ever closer to literal descriptions of nature, in contrast with the theorist painter Tung Ch'i-ch'ang, who turned the same traditional forms into powerful abstractions. A chapter focused on Wu Pin offers new and controversial ideas about the impact of European art, as well as a related phenomenon: revival of the highly descriptive early Sung styles. Looking especially at Ch'en Hung-shou, the greatest of the late Ming figure painters, Cahill examines a curious mixing of real people and conventionally rendered surroundings in portrait art of the period. He analyzes the expressionist experiments of the masters known as Individualists, and distinguishes these artists from the Orthodox school, concluding with a bold reassessment of the most eloquent of later Chinese painters, Tao-chi. Over 250 illustrations, including twelve color plates, are drawn from collections in the United States, Europe, Japan, and China. This is a book for anyone interested in China, its past, and its art, and for the enthusiast who wishes to broaden the horizons of enjoyment by exposure to a most engaging writer on an exquisite era.

    

    “Luenn’s version of a Japanese folktale hums with suspense. Hague’s soaring, beautiful paintings animate the story.”--Publishers Weekly

    The volume is based on extensive interviews with Americans and Japanese who have had considerable first-hand experience negotiating with the Chinese, and an effort has been made to highlight the areas in which there has been the greatest amount of confusion and misunderstanding for American business people.Pye examines each step in the traditionally long negotiating process, from the first contacts to the responses after agreements have been reached. With an emphasis on cultural considerations and troubleshooting techniques, Pye gives solid, practical advice for business firms and individual negotiators. While the emphasis is on practical business negotiations, anyone concerned with Chinese culture will find much to ponder in this book.

    In Chinese Painting Style Jerome Silbergeld addresses this need, beginning with a discussion of basic materials and methods and continuing with in-depth studies of the complex paintings created by these methods. No other work so thoroughly or systematically describes the Chinese artistic processes, ranging from the distinctively Chinese manner of handling the brush to the blending of brushlines, wash, color, and texture into a painted composition. The final chapters examine Chinese composition in terms of naturalistic representation and of abstract expression.Throughout the book, artistic problems are set against a background of Chinese history, ideas, and geography. The illustrations include drawings that reveal the principles of Chinese brushwork, together with a broad range of Chinese paintings and calligraphy. A unique feature is the precise coding of text and illustrations, by which the reader is invited to inspect the specific turn of the brush or adjustment of composition by which the artist achieves his effects.Chinese Painting Style provides a penetrating look into the formal basis of this age-old art, and one that will be useful and engaging both to the general reader and to the serious student.

    In the autumn of 1997, the History of China in Chinese containing 22 sections bound in 12 volumes, of which I was chief editor, was completed. Mr. Wu Canfei, an editor at the Foreign Languages Press (FLP) in Beijing, suggested that the two English edition books, which had been published and distributed for many years, be bound into one volume titled An Outline History of China (revised edition), and be officially published by FLP after it had revised the translation. Prior to this, they had translated the Chinese editions of the two books into English, Japanese, Spanish, German, French and other languages. This was something I had wanted to do for many years. When I drew up the plan for compiling An Outline History of China, I considered writing about the period from 1919 to 1949 in the book, but failed to do so due to factual difficulties. The idea was realized in late 1987, and the second volume of the book came into being. It covers Chinese history from 1919 to 1949, and is now Chapter 11 in this revised edition of An Outline History of China. Though An Outline History of China, which now includes the second volume, cannot be regarded as a complete Chinese history, readers can gain an overall understanding of Chinese history more conveniently through this single-volume edition.

    Released after twenty-three years of imprisonment, he told how the words of the prophet Michah had sustained him. But as for me, I keep watch for the Lord, I wait in hope for God my Savior; My God will hear me.

    This is the true story of Fred Schroder, American trouble-shooter and camel caravanner whose harrowing travels through Mongolia, Siberia, Tibet and China's Far West, make for rich history and high adventure. He has a shoot-out with a nomad chieftain, encounters living gods, gets involved in two revolutions and one coup d'eta, and explores the astounding Royal Tombs at Xian - now called the greatest archaelogical discovery of our time. Easton writes in the first person, to capture the voice and idiom of the indomitable Schroder."At a time when thousands of American tourists are traveling around the People's Republic of China in the luxury of modern jets and air-conditioned trains, Easton's dramatic story of an early American adventurer hacking around old China by foot, horseback, camel, houseboat and freight train takes on a new poignancy."

    This volume deals with the events which prepared the way for the rebellion of the frontier general An Lu-Shan, which weakened the T'ang dynasty (712-756 A.D.) so that it gradually collapsed into a number of independent states in the Five Dynasties period.