In this famous work by a pioneer in the movement to free art from the bonds of tradition -- a work long considered essential to understanding the evolution of 20th-century art -- Kandinsky explores the role of the line, point, and other key elements of non-objective painting. 127 illustrations.

二十世纪上半叶是西方艺术在思想领域最为活跃的阶段。在此之前，工业革命和资产阶级革命深刻地动摇了欧洲社会原有的权威结构。挑战权威、追求个性的尝试激励着年轻的艺术家积极地参与时代精神的建构，艺术流派的多元化和快速更迭成就了这一时期艺术发展的主要特征。经历两次世界大战，欧洲大部分国家实现了从君主立宪到共和政体的转变，但是战争的残酷也终结了艺术家对技术进步和社会进步的乐观信仰。在西方艺术史上，从未有这样一个时代，艺术家如此强调艺术的社会使命，希望用艺术改造社会，最终却被泥沙俱下的社会变革裹挟了命运。
与诸多艺术史著作相比，本书的重要贡献在于选编了与二十世纪上半叶各种艺术流派相关的二十七篇理论文献。这些文论全部出自当时的艺术家和批评家之手，其中大部分是首次有体系地被译介到中国。借助这些思想的片段，读者可以超越艺术作品和艺术史学家的分析，直面艺术家的创作理念和艺术主张。

《中国美术分类全集:中国敦煌壁画全集·敦煌·盛唐》内容简介：盛唐是我国美术史上的黄金时代，寺观壁画盛极一时。今天，仅敦煌莫高窟还保存着公元七○五年！！公元七八八年这期间建造的八十一个洞窟，近五百壁的盛唐丹青。这些壁画大多造型优美，色彩灿烂，内容丰富，形式多样，其中一些代表作，堪称佛教艺术的精品。
本卷精选了墓局窟盛唐时代三十五个窟中的二百零二幅图版，包括了神龙、景龙、阔乓天宝、大历诸时期的壁画精华。其中有著名的巨幅经变，神采奕奕的人物，结构谨严的建筑，浓涂重染的山水，描缕精细的花木竹石，色彩华丽的装饰图案。举凡故事小品、比譬情节中具有反映社会生活与审美价值的画面均择要收入卷中，其中部分图版属首次刊印。本卷基本上反映了盛唐时期敦煌壁画的艺术成就。
在题材方面，除了选入了具有代表性的『净土』、『法华』、『维摩诘』、『华严』、『涅盘』等显宗壁画外，也选人了善无畏等『开匹三大士』在唐土布教时期形成的密宗壁画。
卷中包括论文一篇，并附有关插图。各国版均有文字说明，介绍它的艺术特色与内容依据。

《绘画史事》是阿拉斯在“法兰西文化”电台上为听众们准备的文化节目内容。一个致力于最严肃的艺术史研究的专家，要完成一个挑战：将倾其一生研究的精华与成果，用最平淡又最投入的语气，为广大的艺术爱好者们娓娓道来。
在法国当代的艺术史领域中，阿拉斯既可以说是一匹离经叛道的黑马，又是最具有代表性、最有才华的一个典范。他思路开阔，没有门户之见，其研究方法融合了法国社会科学方面的诸多精华与成果。他是开放与渊博的奇妙结合，深入与浅出的完美融合，体现出逻辑与直觉的高度均衡。他所研究的，是活生生的美术，从而使得他所做的学问，也是活的学问。一句话，他代表了一种新学者的理想境界。
他用一种快速的、经常是急切的语调，展示出他的清醒、知识和直觉。这种清醒、直觉与知识装备了我们。大家都情不自禁地说，一定会带着与以前不一样的眼光，迫不及待地前去看那些画：《蒙娜丽莎》、《天神报喜》、矫饰主义、弗美尔、《宫娥》、马奈、提香、“错时论”的好处与恶果、展览的条件，以及各种各样珍贵的细节。
这些故事不仅仅是关于绘画的。它们还讲述了作者的游历、寻访，如何在某些并不对外开放的地方自由来回，不易得见的画作如何被他独亲芳泽。这里有直面杰作时的激动和兴奋，也有仔细拍照后拿回家近距离把玩的快乐。

The personal stories of the Gao villagers demonstrate and are related to changes in China.
This is a close study of Gao Village twenty years after the author, an anthropologist and native of Gao village, wrote his original ethnography Gao Village. It combines ethnographic analysis, personal vignettes, and a number of fascinating stories, which presents a convincing yet complex picture of how Gao villagers interact with the outside world. With his sympathetic and insider’s approach, the author argues that rural Chinese display great entrepreneurship and inner strength of self-improvement; they are active contributors to China’s economic boom.
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“This is a close ethnographic look at the world of Gao villagers twenty years after the author, an anthropologist and native of Gao village, wrote his original ethnography. Through a look at Gao villagers, including the ethnographer’s own family and extended kin, we are able to see the decline of agriculture and the integration of rural people into an urban economy. We get an in-depth look at how rural people have prospered in this informal economy, but we also see them confronting new sources of stress and strain even as their material living standard rises.”
–Ellen Oxfeld, Middlebury College
“This sequel to Gao’s earlier work (1999) about his home village in Jiangxi Province is an engaging and digestible short course on contemporary China’s rural economy. The anecdotes from observation and personal knowledge of the lives of Gao villagers reflect Gao’s critical, often wry perspective; some of the best chapters are those that profile the lives of Gao villagers’ entrepreneurial vicissitudes in a relatively unregulated market environment.”
–Ann Hill, Dickinson College

17世纪中叶，中国社会经历了天崩地裂的鼎革，清王朝取代了明王朝，建立了统一中国的新政权。出身于仕宦世家的王时敏，入清以后不思为官，退身乡里，，潜心于书画创作。他和同里王鉴一起，继承了董其昌“画家以古人为师”的思想，开辟出以摹古、仿古为宗旨的绘画风气。他们师承的古人是以董其昌所推崇的董源、巨然和“元四家”为主的南宗传系，王时敏尤其倾心于元黄公望，从而将文人山水画的发展推向了新的进程。在清初，王时敏被誉为“画坛领袖”。王时敏之孙王原祁，走的是正规的仕途，他继承家学，并获得康熙皇帝的欣赏……
本书由国内艺术史领域重要的研究学者多角度地呈现了四王研究的当代视野，也邀请了历史、地理、思想史、民俗等领域的学者，从不同的角度对其时代和地区予以观察，撷取标注“17世纪江南”的历史切片，置于文化之“显微镜”下，探寻娄东画派的文化价值。

西元１２０６年，鐵木真被蒙古各部推為全蒙古大汗，號成吉思汗，建立了大蒙古國。其孫子忽必烈後改國號元。總計超越一個世紀的蒙元時代中，不同民族的文化彼此激盪交流。蒙古人、色目人、藏人等各個民族的好尚 進入中國，而漢族特有的書畫藝術也吸引其他民族文人加入創作的行列，呈現出多元、多采的風貌。

《庄学本全集(套装上下册)》讲述了：庄学本先生全集中所涉及的时间主要是1934年至抗战爆发后的近10年岁月；地点主要在川、甘、青、滇之民族地区；所涉及的民族主要有羌、藏、回、土、东乡、撒拉、保安、彝、纳西、普米等。时之长、地之广、族之多，在类似考察中实不多见，且成果丰富，留有数十万字的调查报告、游记和旅行日记，三千余幅图片。这些文字和图片曾在当时的《良友》画报、《申报》、《中华》画报、《西南边疆》、《康导月刊》等刊物发表；并举办多个影展，出版了《羌戎考察记》等专著，在当时产生了积极影响。如其"西康摄影展"就有郭沫若、陈立夫、陈果夫、于右任、张继、顾颉刚、翁文灏、常任侠等题词，足见社会各界之关注。

中国古代绘画精妙之极，也丰富之极。本书虽篇幅短小，但暗含画史脉络，深具辞书绵密。作者分二十六题，以轻松的笔法、隽永的文字，将中国古代画家和他们生活的世界做了简切的勾勒，以引领读者登堂入室，亲近富有人格魅力的绘画大师，领略中国绘画的烟霞丘壑，感受中国古代的艺术精神。

《当代数码艺术》是介绍西方最新数码电影、图像及艺术作品的精选集，兼具批评、理论和历史的色彩。这些文章是高名潞和陈小文从二十世纪九十年代以来出版的多部重要英文数码理论文集中遴选而来。它们最初发表在这一领域最重要的英文出版物上，具有一定的代表性。它们有的侧重某一问题，有的比较宽泛，有的理论性强，甚至偏于自然科学理论，有的则偏重人文历史。读者可以从这些具有多样性的文章中发现一些非常敏锐和颇具前沿性的观点，并得到更多的启发。

Winner of the 2009 International Convention of Asia Scholars Book Award
Winner of the 2009 Levenson Book Prize (for book on pre-1900 China), sponsored by the Association for Asian Studies
Winner of the 2009 Charles Rufus Morey Book Award from College Art Association
Winner of the 2008 James Henry Breasted Award from the American Historical Association
Early China is best known for the dazzling artifacts it has left behind. These terracotta figures, gilt-bronze lamps, and other material remnants of the Chinese past unearthed during archaeological excavations are often viewed without regard to the social context of their creation, yet they were made by real individuals who contributed greatly to the foundations of early Chinese culture. With Artisans in Early Imperial China, Anthony Barbieri-Low combines historical, epigraphic, and archaeological analysis to refocus our gaze from the glittering objects and monuments of China to the men and women who made them.
This book represents the first in-depth social history of artisans in early China. How did they live? How were they trained? How did they market their products? How free were they? In this engaging and illuminating analysis, Barbieri-Low explores these artisans' lives and careers from a variety of aspects. First, he examines their position within early Chinese society, analyzing their social status, social mobility, and role in the early Chinese economy. Delving deeper, he steps into their workshops to learn how they were trained, what tools they used, and what workplace hazards they faced. Following their wares to the marketplace, he investigates some of the marketing techniques used by artisans and merchants, including such startlingly modern practices as family trademarks, rhyming jingles, and knockoffs of royal products.
From the dirt and din of the marketplace, Barbieri-Low enters the rarefied air of the court, with its own visual and material culture and its own professional artisans. This court was constructed upon the backs of yet another class of artisans, the most abject, those found in labor camps and slave markets. These were the men and women who built and decorated many of the great palaces, temples, and tombs of early China. Barbieri-Low compellingly argues that the state used a cold-blooded mathematical formula to optimally exploit these coerced laborers without upsetting the balance of the economy or fostering revolt.
Artisans in Early Imperial China humanizes the material remains of the past, revealing the men and women who made the beautiful artifacts we know today. This book will appeal to anyone interested in Chinese history, as well as to scholars of comparative social history, labor history, and Asian art history.

王原祁是清初杰出的山水画家，与王时敏、 王鉴、 王翚并称 “四王”，且成就高。他在从事绘画创作的同时，还努力进行绘画理论的探索。其作品上的题跋颇能反映他的思想轨迹。王原祁的绘画题跋曾被后人辑为《麓台题画稿》、《王司农题画录》出版。今凌利中先生在上海博物馆新发现王原祁题画手稿册页，于是结合传世的王氏绘画、他人著录、已刊行的画跋等，进行比较研究，考证其行事，挖掘其内涵，多有新见，是关于王原祁绘画创作和理论研究的一部别开生面、较有深度的专著，对于鉴别王原祁绘画的真赝也有指导意义。为让读者全面了解王原祁的绘画思想，本书后附《麓台题画稿考释》，并影印《题画手稿》、《麓台题画稿》、《雨窗漫笔》三种，以供学界参考。

敦煌研究院出品，包含敦煌市莫高窟、西千佛洞、瓜州县榆林窟、东千佛洞和肃北县五个庙石窟的主要石窟的内容，按照时间顺序排列，从十六国北凉时期（421）到元代时期（1386），每幅图片配有文字说明，是欣赏莫高窟艺术很好的参考导读。此书仅在当地由敦煌研究院出售，不公开发行。

As beautiful and rigorous as an Escher work itself, this book is the classic study of a great maverick who so memorably linked the world of image making with geometry and paradox. Escher's works, from the great master prints to numerous drawings, are brilliantly arranged to form a cinematic journey of discovery that reveals the magical world of the artists mind, an uncharted realm lush with exotic conceptions and inventions.

收录冼玉清《元赵松雪之书画》《元管仲姬之书画》两篇。