Konstfacks bibliotek

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*008110824s2005    uik    |      00| u eng d
*020  $a1-933045-26-4
*020  $a1-933045-26-4
*035  $a(Ko)27424
*040  $dSfi
*084  $aF802.25(047.53)
*084  $aIaa
*084  $aImaa
*1001 $aAitken, Doug
*24514$aThe Broken Screen :$bexpanding the image, breaking the narrative : 26 conversations with Doug Aitken  /$cedited by Noel Daniel
*260  $aLondon ;$a2005 :$bDistributed Art Publishers ,$c2005
*300  $a228 s.  :$bill. (vissa i färg)
*650 4$aKonstteori
*650 4$aEstetik
*650 4$aRegissörer, intervjuer
*7001 $aDaniel, Noel$4edt
*8520 $cKONST - Iaa
^

To the Chinese people, jade is a precious stone endowed with magical properties which encapsulated all that mankind aspires to in terms of character, elegance, tranquility, purity and virtue. The Chinese love jade not merely because of its rarity or its luster but because of a deeper aesthetic value.

Chinese Jade: The Spiritual and Cultural Significance of Jade in China presents a comprehensive view of jade and its history in China from Neolithic times to the Qing dynasty. It illustrates pieces of jade that are on display not only in the Palace Museum in Beijing but in the many provincial and other museums across China. It will help the reader to understand what jade means to the Chinese in China; how it is classified and described and where it is found and worked and displayed. It has a value beyond that of a simple catalogue and places jade in its natural, and central, cultural context.

• Prefacep. 6
• Eija-Liisa Ahtilap. 18
• Robert Altmanp. 26
• Kenneth Angerp. 38
• John Baldessarip. 48
• Matthew Barneyp. 60
• Chris Burdenp. 74
• Bruce Connerp. 86
• Claire Denisp. 96
• Stan Douglasp. 102
• Olafur Eliassonp. 110
• Pablo Ferrop. 122
• Mike Figgisp. 136
• Werner Herzogp. 146
• Gary Hillp. 154
• Carsten Hollerp. 162
• Pierre Huyghep. 172
• Alejandro Jodorowskyp. 182
• Rem Koolhaasp. 190
• Greg Lynnp. 202
• Carsten Nicolaip. 210
• Richard Princep. 218
• Pipilotti Ristp. 226
• Ugo Rondinonep. 236
• Ed Ruschap. 246
• Amos Vogelp. 258
• Robert Wilsonp. 266
• Moments: Doug Aitken & Hans Ulrich Obristp. 279
• Diagram of Nonlinear Filmp. 291
• Captionsp. 296
• Indexp. 299
• Acknowledgmentsp. 302