Between the end of the Middle Ages and the eighteenth century, what methods were used to monitor and control the increasing number of texts--from the early handwritten books to the later, printed volumes--that were being put into circulation? In "The Order of Books, Chartier examines the different systems required to regulate the world of writing through the centuries, from the registration of titles to the classification of works. The modern world has, he argues, directly inherited the products of this labor: the basic principle of referring to texts, the dream of a universal library, real or imaginary, containing all the works ever written, and the emergence of a new definition of the book leading to some of the innovations that transformed the relationship of the reader to the text. "The Order of Books will be welcomed by students and researchers of cultural history, and the history of reading in particular.

共收明刻近万种，朱明三百七十余年所有刊本存世者，包括官刻、坊刻、家刻等。

都說紅顏多薄命，這紅顏雖是在臺上扮的，但薄命卻跟著他下了臺。
袁秋華不怵女人，他怕男人。玩男旦的都是男人。京劇最有名的幾個男旦，不是也被某軍閥「請」到家裡脫下褲子嗎？理由只有一個：看看誰的屁股好看。據說張伯駒曾寫過一首詩，隱晦地提及此事。後來，這個屁股不大好看的藝人收到軍閥送的六千大洋支票。他當即退回：人再有名氣，也不可如此受辱。難怪有句口諺：「家有三斗糧，不進梨園行。」後來這個享有大名的京劇藝人，堅決不讓子女學戲。每逢祖上忌日，要在墳頭坐上很久且在日記裡歎道：「總思大哭一場，心中蘊藏積日之悲。」
從小就是戲迷的章詒和，畢業於中國戲曲學院，且在中國藝術研究院研究傳統戲曲多年，她將自身的見聞與研究融鑄成一部中長篇小說，描述一個男旦的誕生與殞落，除了道盡此一藝術領域的巧妙與涵養外，身為男旦的辛酸苦楚、駭人聽聞之處亦在其中，令人讀之欷歔不已。

本书由《履f岩本草》、《绍兴校定经史证类备急本草》、《宝庆本草折衷》三部南宋珍稀本草书组成。各具特色，学术价值甚高。《履f岩本草》(3卷)南宋画家王介撰绘于1220年。王介取住地周围草药206种绘成彩色图谱，以其堂号“履f岩”名书。此书是今存最早的地方本草彩色图谱。其药图经画家之手绘制，精美绝伦，乃古本草图之最佳者。其药图可以据以鉴定出许多南宋所用草药，价值甚高。今校注本对全部药图的草药进行了考订，实用价值很高。《绍兴校定经史证类备急本草》(31卷)为南宋惟一的官修本草，由医官王继先领衔编修(1159年)。该书以《大观本草》为底本，校勘文字，补充新药，并对各药予以考订(考订文字前冠以“绍兴校定”)。“绍兴校定”中则对诸药药性功治、产地炮制、品种鉴别等进行考订，辨别是非，介绍该药实际运用情况，今本存药图801幅，学术价值很高。《宝庆本草折衷》(20卷)成书于1248年。作者陈衍，儒医兼通，故该书编排得法，简明适用，汇集了南宋众多药性理论知识，且补充了作者许多临床用药经验。此外，该书记载了南宋许多本草书目，是了解南宋及其以前医药的宝贵史料。以上三书今存世者甚少，《绍兴校定经史证类备急本草》仅存日本残抄本，《履f岩本草》存明抄绘孤本，《宝庆本草折衷》亦仅存元刻孤本(残存14卷)。此三书学术价值高，为古本草之佼佼者。此次整理，将此三种南宋珍稀本草精心校点，又从《永乐大典》残卷中辑其遗余，并赴日本考察《绍兴校定经史证类备急本草》多种抄本，整理成《南宋珍稀本草三种》。每书之末均编有药名索引，方便读者检索。

本书作者查检明代笔记、日记近二千种，从中检得162种入编，各种书前均冠以提要一篇，介绍著者生平，书之版本、序跋、内容等情况，以供研究者参考利用。本书所辑录的资料，内容颇为丰富，包括画家传记、画论、鉴藏、著录等，涉及绘画史论的各个方面，对研究中国绘画史，尤其是明代绘画史而言，有着重要的文献史料价值。

Know Your Remedies presents a panoramic inquiry into China’s early modern cultural transformation through the lens of pharmacy. In the history of science and civilization in China, pharmacy—as a commercial enterprise and as a branch of classical medicine—resists easy characterization. While China’s long tradition of documenting the natural world through state-commissioned pharmacopeias, known as bencao, dwindled after the sixteenth century, the ubiquitous presence of Chinese pharmacy shops around the world today testifies to the vitality of Traditional Chinese Medicine. Rejecting narratives of intellectual stagnation or an unchanging folk culture, He Bian argues that pharmacy’s history in early modern China can best be understood as a dynamic interplay between elite and popular culture.
Beginning with decentralizing trends in book culture and fiscal policy in the sixteenth century, Bian reveals pharmacy’s central role in late Ming public discourse. Fueled by factional politics in the early 1600s, amateur investigation into pharmacology reached peak popularity among the literati on the eve of the Qing conquest in the mid-seventeenth century. The eighteenth century witnessed a systematic reclassification of knowledge, as the Qing court turned away from pharmacopeia in favor of a demedicalized natural history. Throughout this time, growth in long-distance trade enabled the rise of urban pharmacy shops, generating new knowledge about the natural world.

本书乃根据早在作者1991年发表于《广岛大学文学部纪要》的特刊，书名为《明末江南出版文化的研究》之基础上重新加以补充和修改而成。由于大木康教授多年研究冯梦龙，由此关注到晚明文学的最大特点，即俗文学的隆盛。这背后既有精神背景又有物质背景，而后者与晚明出版业的发达有着直接关联。从宋元以来留存的古籍数量来看，晚明出版的图书并非循序渐进地增长，而是呈现为井喷式的激增，主要有别集•总集、丛书、八股选本、戏曲•小说等。其刻书性质可分为官刻、家刻、坊刻三种。雕版方面，刻书字体改为以直线条为主（日本称之为“明朝体”）；装订方面，蝴蝶装几乎被线装全面替代，出版效率因此大为提高。出版业的发达对晚明的社会文化产生了深刻影响。东林和复社等文人团体的活动结束后立即通过刻书传布扩大其思想，从而形成舆论。李贽等“异端”思想也通过刻本的大量印刷得以迅速传播，即使官方出面禁毁也无法真正杜绝。同时出现了陈继儒这样的“出版文化人”，他通过大量编书刻书，涉及琴棋书画诗酒花茶等文人生活的方方面面，使得士人雅趣得以大众化。正是晚明出版业的勃兴成为了其时文化繁荣的契机。
早期有关中国印刷出版史的研究，焦点多着重在印刷技术史与版本目录的方面。至于印刷出版品涉及到与社会文化有着密不可分的关系方面，如书籍价格、阅读群体、社会效应与识字率等课题问题，较少有研究者关注，研究成果也较少。现在，明清的印刷出版文化史似乎已成为明清文化史研究的热点。大木康的著作研究着力于当时书籍的产生、流通过程本身诸问题，并运用了社会史的研究方法。整部著作体系完整，征引文献丰富。尤其是添加的附录文章，话题有趣，颇具可读性。可以说，大木康的《明末江南的出版文化》是了解明代出版文化史的不可不读的一本好书。

Science and Confucian Statecraft in East Asia explores science and technology as practiced in the governments of premodern China and Korea. Contrary to the stereotypical image of East Asian bureaucracy as a generally negative force having hindered free enquiries and scientific progress, this volume offers a more nuanced picture of how science and technology was deployed in the service of state governance in East Asia. Presenting richly documented cases of the major state-sponsored sciences, astronomy, medicine, gunpowder production, and hydraulics, this book illustrates how rulers’ and scholar-officials’ concern for efficient and legitimate governance shaped production, circulation, and application of natural knowledge and useful techniques.
Contributors include: Francesca Bray, Christopher Cullen, Asaf Goldschmidt, Cho-ying Li, Jongtae Lim, Peter Lorge, Joong-Yang Moon, Kwon soo Park, Dongwon Shin, Pierre-Étienne Will

此书着重关心的核心问题有二：一，文徵明之后的苏州文坛到底发生了哪些变化；二，王世贞又是如何在竞争激烈的环境中成为文坛领袖的。

《天水冰山录》是明人过录籍没权相严嵩财产的清单。其上记载了严嵩所藏数以万计的金银财宝、绫罗绸缎，以及严氏一族的良田宅第等等，是研究明代及前后时期工艺美术、设计造物暨物质文化史，并相应观念、思想等的非常紧要、不可规避的重要且珍贵文献。《钤山堂书画记》同是记录严族物资的清单，不同的是该《记》专门登载了其财产中的法帖、书画，满清以来一般均附在《天水》文后，所载叙述性内容亦较《天水》详尽，二者关系密切，素为美术史家所重。

「偽好物」一詞源自北宋大書畫收藏家米芾（1052-1107）對一件傳為鍾繇（151-230）之〈黃庭經〉的評價。他認為這件作品雖然是唐代摹本，然而因臨寫極佳，遂以「偽好物」稱之，肯定這件摹本的藝術價值。
本次特展以「偽好物」為題，呈現一批頗具水準，製作於十六到十八世紀，與蘇州風格相關的偽古書畫作品及其影響。這類冠上唐、宋、元、明書畫名家頭銜的偽作，無論品質精粗，在近代籠統地被稱為「蘇州片」。由於它們被視為贗品，即使大量存在於公私收藏中，卻長期受到忽略。
然而，題材繽紛且為數眾多的「蘇州片」，正反映出明末清初「古物熱」與書畫消費蓬勃的氛圍。藉由本院典藏的明末清初「偽好物」，可以展現當時商業作坊如何以古代大師為名，進行再製，同時藉用文徵明（1470-1555）、唐寅（1470-1524）、仇英（約1494-1552）等蘇州名家的風格來回應這波需求，提供消費者對於著名詩文經典或討喜吉慶主題等種種的活潑想像，打造出許多如〈清明上河圖〉、〈上林圖〉等熱門商品。
「蘇州片」原本屬於商業性的仿作，然由於數量上的優勢與不可忽視的流通量，反而成為明中期以來訊息傳播、古代想像、與建構知識的重要載體。蘇州片甚至成功地進入清代宮廷，直接影響到宮廷院體的形成，對繪畫史的發展，具有前人未曾關注到的重要性。
本次特展圖錄，特別以拉頁方式呈現仇英「百美圖」、元人「上林羽獵圖」、仇英「上林圖」，讓讀者能更完整地欣賞「蘇州片」的迷人之處。

《考工记》是战国时期的一部手工业技术文献，记载了各种工艺的规范及体系。
王安忆写《考工记》，却是带着历史的长焦，描述一位上海洋场小开，逐渐蜕变成普通劳动者的过程。
出生世家的陈书玉，历经战乱，回到考究而破落的上海老宅，与合称“西厢四小开”的三位挚友，憧憬着延续殷实家业、展开安稳人 生。然而，时代大潮一波又一波冲击而来，文弱青涩的他们，猝不及防，被裹挟着，仓皇应对，各奔东西，音信杳然。陈书玉渐成一件不能自主的器物，一再退隐，在与老宅的共守中，共同经受一次又一次的修缮和改造，里里外外，终致人屋一体，互为写照。
半个多世纪前的“西厢四小开”，各自走完了自己的人生路。他们是千万上海工商业者的缩影，是上海这座繁华都市的沧桑注脚。
继《长恨歌》之后，《考工记》是王安忆书写的又一部低回慢转的上海别传，而“上海的正史，隔着十万八千里，是别人家的事，故事中的人，也浑然不觉”。

《老师好美》主要讲 述了一段令人匪夷所思的禁忌之恋。一位36岁单身离异女班主任与两位花样少年跨越年龄鸿沟在校园中演绎了一场隐秘而炽烈的不伦之恋。严歌苓极其细腻地揭开了女性感情朦胧的面纱，描绘了情欲背后的女性及师生之间复杂矛盾的内心世界。终于，师生 三人的情感纠葛碰撞出了危险火花，一场不伦之恋反噬着纯真懵懂的青春和生命。深陷爱情囹圄的女人多么糊涂与盲目，而为爱疯狂的男孩又是怎样的绝望与凶残？畸形情网缠住三个人，每个人都懵懂而炽烈地寻找感情，却又不知自己真正想要什么。
《老师好美》也是严歌苓将目光首次聚焦在中学校园，在题材、写作手法和女性角色塑造上又一次新鲜成功的尝试。为写本书，她专程去学校体验校园生活，以期给读者呈现真切、生动、鲜活的故事面貌。

This work explores significant physical aspects of the printed book in late imperial China to reconstruct the changing assumptions with which Chinese popular novels were originally read from the sixteenth through nineteenth centuries. It focuses on the previously neglected areas of book format, varieties of illustrations and their significance, and the theory and practice of reading illustrated narratives.
The author first considers the physical book itself, as a vehicle for reading and as an object for visual enjoyment, tracing the development of the format commonly used for popular reading materials, the blockprinted book in sewn volumes with illustrations. He describes the technological progress that made book production efficient and economical by the middle of the sixteenth century, and makes extensive comparisons between the physical characteristics of novels and books of more artistically refined content.
The focus of the study then shifts to the illustrations that accompanied virtually all printed materials during the period when popular fiction became common. They are found to consist of a range of conventional elements that are related to images in more refined arts, such as the paintings of the literati and the decorations produced by commercial artists. Close parallels in both content and pictorial motifs between these various levels of painting and book illustrations suggest a continuum of the arts on which the pictures in mass-produced fiction initially held a respectable position.
The final chapters assert, from a theoretical perspective, the function of illustrations in narratives as a guide or a hindrance to reading. The author demonstrates the correspondencebetween the later decline of fiction illustrations and the growth in reading audiences, explaining this connection as a function of flagging interest in pictures -- which often interfere with, rather than promote, the visualization so essential to reading for pleasure in other cultures as well.
Throughout, the author incorporates findings from the history of technology, new explorations in the development of commerce in cultural objects, recent research on the commercial arts, and the latest theories of reading for pleasure to situate -- and explain -- the numerous changes in popular literary trends during the last several centuries of imperial Chinese rule.

"Empire of Great Brightness" is an innovative and accessible history of a high point in Chinese culture, seen through the riches of its images and objects. Not a simple emperor-by-emperor history, it instead introduces the reader to themes that provide stimulating and original points of entry to the culture of China: to ideas of motion and rest; to the position occupied by writing and objects featuring writing; to ideas about pleasure, about violence and about ageing. It challenges notions of Ming China as a culture closed off from the rest of the world by emphasizing the vibrant interactions between China and the rest of Asia at this period. Craig Clunas uses a wide range of pictures and objects from Ming China to illustrate familiar areas such as painting and ceramics (including the blue-and-white porcelain of the period, arguably the world's first global brand'). He draws on items from public and private collections from around the world, which will be new even to specialists, including weapons, architecture, textiles and items of dress, printed books (from Ming pornography to the world's first illustrated reading book for children).
He also examines contemporary sources from government edicts to novels and phrasebooks of colloquial Chinese as well as the most recent scholarship to illuminate this most diverse period of Chinese art and culture. "Empire of Great Brightness" offers a varied and stimulating resource for all scholars of China's cultural history, for historians and art historians of related aspects of the early modern world, and for readers who are intrigued by China's past.

Painters of the Great Ming is the most thorough western language book on the Ming painting academy and the Zhe School. For Northern Song court art, see Patricia Buckley Ebrey, Accumulating Culture: the Collections of Emperor Huizong (Seattle: University of Washington Press, 2008) N5285 .C52 S664 2008. For Southern Song, see Hui-shu Li’s Empresses, Art, and Agency in Song Dynasty China (Seattle: University of Washington Press, 2010) N5205.7 .C6 L5 2010. For Yuan, see Annie Jing’s article, “The Portrait of Khubilai Khan and Chabi by Anige (1245-1306), A Nepali Artist at the Yuan Court,” Artibus Asiae 54, no. 1/2 (1994): 40-86 N8 .A75. For students interested in Chinese animal paintings, Hou-mei Sung specializes on animal paintings commissioned by the Ming court and their implications in Decoded Messages: The Symbolic Language of Chinese Animal Painting (New Haven: Yale University Press, 2009) ND1383 .C6 S88 2009 F.

This volume seeks to study the connections between two well-studied epochs in Chinese history: the mid-imperial era of the Tang and Song era (ca.800-1270) and the late imperial era of the late Ming and Qing (1550-1900). Both eras are seen as periods of explosive change, particularly in economic activity, characterized by the emergence of new forms of social organization and a dramatic expansion in knowledge and culture. The task of establishing links between these two periods has been impeded by a lack of knowledge of the intervening Mongol Yuan dynasty (1271-1368). This historiographical "black hole" has artificially interrupted the narrative of Chinese history and bifurcated it into two distinct epochs. This volume aims to restore continuity to that historical narrative by filling the gap between mid-imperial and late imperial China. The contributors argue that the Song-Yuan-Ming transition (early 12th through the late 15th century) constitutes a distinct historical period of transition and not one of interruption and devolution. They trace this transition by investigating such subjects as contemporary impressions of the period, the role of the Mongols in intellectual life, the economy of Jiangnan, urban growth, neo-Confucian and local society, commercial publishing, comic drama and medical learning.

This collection of essays reveals the Ming court as an arena of competition and negotiation, where a large cast of actors pursued individual and corporate ends, personal agency shaped protocol and style, and diverse people, goods, and tastes converged. Rather than observing an immutable set of traditions, court culture underwent frequent reinterpretation and rearticulation, processes driven by immediate personal imperatives, mediated through social, political, and cultural interaction.The essays address several common themes. First, they rethink previous notions of imperial isolation, instead stressing the court's myriad ties both to local Beijing society and to the empire as a whole. Second, the court was far from monolithic or static. Palace women, monks, craftsmen, educators, moralists, warriors, eunuchs, foreign envoys, and others strove to advance their interests and forge advantageous relations with the emperor and one another. Finally, these case studies illustrate the importance of individual agency. The founder's legacy may have formed the warp of court practices and tastes, but the weft varied considerably. Reflecting the complexity of the court, the essays represent a variety of perspectives and disciplines - from intellectual, cultural, military, and political to art history and musicology.