Kingly Splendor : : Court Art and Materiality in Han China / / Allison R. Miller.

• Superior document: Title is part of eBook package: De Gruyter Columbia University Press Complete eBook-Package 2021
• VerfasserIn: Miller, Allison R.,
• Place / Publishing House: New York, NY : : Columbia University Press, , [2020]; ©2021
• Year of Publication: 2020
• Language: English
• Series: Tang Center Series in Early China
• Physical Description: 1 online resource :; 104 illustrations
• Other title: Frontmatter --; CONTENTS --; ACKNOWLEDGMENTS --; Introduction --; Chapter One. The Kings and the Court in the Early Western Han --; Chapter Two. From Imitation to Innovation: The Emperor’s Baling Tomb and the Mountain Tombs of the Western Han Kings --; Chapter Three. New Styles from Political Change: The Early Han Kings and the Reimagining of Terracotta Armies --; Chapter Four The Many Meanings of Jade: Jade Suits and Local Identity in the Early Han --; Chapter Five The Murals at Shiyuan and the King of Liang --; Chapter Six The Purple Textiles of Qi: Tracing the Growth of a Provincial Industry --; Conclusion --; NOTES --; BIBLIOGRAPHY --; INDEX
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780231551748; 9783110739077; 9783110704716; 9783110704518; 9783110704839; 9783110704631
• DOI: 10.7312/mill19660
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Allison R. Miller.

The Western Han dynasty (202 BCE–9 CE) was a foundational period for the artistic culture of ancient China, a fact particularly visible in the era’s funerary art. Iconic forms of Chinese art such as dazzling suits of jade; cavernous, rock-cut mountain tombs; fancifully ornate wall paintings; and armies of miniature terracotta warriors were prepared for the tombs of the elite during this period. Many of the finest objects of the Western Han have been excavated from the tombs of kings, who administered local provinces on behalf of the emperors.Allison R. Miller paints a new picture of elite art production by revealing the contributions of the kings to Western Han artistic culture. She demonstrates that the kings were not mere imitators of the imperial court but rather innovators, employing local materials and workshops and experimenting with new techniques to challenge the artistic hegemony of the imperial house. Tombs and funerary art, Miller contends, functioned as an important vehicle of political expression as kings strove to persuade the population and other elites of their legitimacy. Through case studies of five genres of royal art, Miller argues that the political structure of the early Western Han, with the emperor as one ruler among peers, benefited artistic production and innovation. Kingly Splendor brings together close readings of funerary art and architecture with nuanced analyses of political and institutional dynamics to provide an interdisciplinary revisionist history of the early Western Han.