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T'ien Shan P'ai is a very comprehensive school of Chinese martial arts boxing, teaching elements of the Shaolin art, Ch'i Kung, Tai Chi Ch'uan, Hsing-I, Pa Kua and Ch'in-Na. This blending of styles produces a variety of fighting techniques to be used in a wider range of possibilities in given situations.

T'ien Shan P'ai is a very comprehensive school of Chinese martial arts boxing, teaching elements of the Shaolin art, Ch'i Kung, Tai Chi Ch'uan, Hsing-I, Pa Kua and Ch'in-Na. This blending of styles produces a variety of fighting techniques to be used in a wider range of possibilities in given situations.

"This exquisite collection of Chun Wen Wang, a master ceramicist, includes twelve years of creating delicate and unique works of art. It is his desire that people become more aware of the ancient art of ceramics, and develop a greater interest, love and respect of it."--inside jacket cover

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A chronological account of the development of the Two-Truth theory which forms the foundation of T'ien T'ai philosophy, the teaching of the Threefold Truth, and includes an annotated translation of Chih-i's Fa hua hsuan i. "...a "must" for all major libraries..." Choice "...a "must" for all Buddhist collections..." Religious Studies Review

Willy Lin follows his first successful chin-na book with advanced information and illustrations on how to counter the most common street attacks with this gentle art.

4to. Unpaginated, with color plates with accompanying autobiographical/poetical text on facing page of many plates. Bilingual: English and Chinese: First Edition, 1983. Green decorative boards with gilt lettering to front board and spine, Deep-blue and gilt endpapers with black lettering. ``Known for the tranquility and softness of his paintings and drawings, he considers no division between his two creative talents: painting and writing poetry. He says, 'We Chinese value beauty in aesthetic terms, as we value peace, tranquility, purity, harmony, innocence, simplicity, humility, love, joy--the qualities of the heart that artists express in their work'. His talents once drew the praise of the late Pearl S. Buck, whot wrote, 'The adjustments of an artist to his environment is the result of the growth and development of the man himself, expressed through his art. Chen Chi and his work remains Chinese in its technique. H does not, however, find his subjects or inspiration in the past. He lives in the present and in spine of the inherent delicacy of his medium, he is able to present with amazing power the elemental forces of nature ... the Asian influence in Chi's work is always to be found in his persistent search for the essential meaning" from the lais-in Essay by Raymond J. Steiner.

This 1637 classic on the history of traditional Chinese technology, profusely illustrated with 152 original woodcuts, covers agriculture, textiles, mining, metallurgy, chemical engineering, boat-building weapons manufacture, and more. Rich in scientific and historical background, its many annotations round out an impressive survey of technological progress.

Add elegance to your home with our set of 2 Ien dining chairs, featuring soft white faux leather upholstery to enhance the ambiance of your living or dining space. Their sturdy chrome finished steel legs offer superb balance, while the cozy, cushioned seats and tall backrests bring a comfy vibe and aesthetic to your interior. Check out our Ien collection for more color options. Color: White and Chrome.

This definitive anthology casts Sinophone studies as the study of Sinitic-language cultures born of colonial and postcolonial influences. Essays by such authors as Rey Chow, Ha Jin, Leo Ou-fan Lee, Ien Ang, Wei-ming Tu, and David Wang address debates concerning the nature of Chineseness while introducing readers to essential readings in Tibetan, Malaysian, Taiwanese, French, Caribbean, and American Sinophone literatures. By placing Sinophone cultures at the crossroads of multiple empires, this anthology richly demonstrates the transformative power of multiculturalism and multilingualism, and by examining the place-based cultural and social practices of Sinitic-language communities in their historical contexts beyond "China proper," it effectively refutes the diasporic framework. It is an invaluable companion for courses in Asian, postcolonial, empire, and ethnic studies, as well as world and comparative literature.

Twilight of Princes introduces the reader to the kings and their challengers, the statesmen and philosophers, the scientists and artists whose ambitions transformed their times: Louis XIV, the glittering symbol of absolute power who brought France to the apogee of its glory; Ch'ien-lung, on the other side of the world, who presided over an equally bedazzling Chinese Empire; James Watt, who devised the first efficient steam engine: Henry Fielding whose rollicking Tom Jones set the English novel along lines it continues to follow; Thomas Jefferson, the Virginia patriot who drafted the American colonies' declaration of independence; Frederick the Great of Prussia, whose cynical deal with Catherine the Great of Russia and Maria Theresa of Austria partitioned Poland, thereby eliminating for a century a great sovereign state.

This collection of seventeen essays by James Hightower and Florence Chia-ying Yeh contains three chapters on shih poetry, ten chapters on Sung tz'u, and four chapters on the works of Wang Kuo-wei. It includes ten previously published works, including Hightower's now-classic work on T'ao Ch'ien and Yeh's studies of Sung tz'u, as well as seven important additions to the literature on Chinese poetry. The essays treat individual poets, particular poetic techniques (for example, allusion), and general issues of period style and poetry criticism. The previously published items have been updated to include the Chinese texts of all poems presented in translation. Although authored separately by Professors Hightower and Yeh, the Essays presented here are the result of their thirty years of collaboration in working on Chinese poetry. Through close readings of individual texts, the two authors explicate the stylistic and psychological components of the work of the poets they study and present compelling interpretations of their poems.

In this major new book, leading cultural thinker Ien Ang engages with urgent questions of identity in an age of globalisation and diaspora. The starting point for Ang's discussion is the experience of visiting Taiwan. Ang, a person of Chinese descent, born in Indonesia and raised in the Netherlands, found herself "faced with an almost insurmountable difficulty" - surrounded by people who expected her to speak to them in Chinese. She writes: "It was the beginning of an almost decade-long engagement with the predicaments of `Chineseness' in diaspora. In Taiwan I was different because I couldn't speak Chinese; in the West I was different because I looked Chinese". From this autobiographical beginning, Ang goes on to reflect upon tensions between `Asia' and `the West' at a national and global level, and to consider the disparate meanings of `Chineseness' in the contemporary world. She offers a critique of the increasingly aggressive construction of a global Chineseness, and challenges Western tendencies to equate `Chinese' with `Asian' identity. Ang then turns to `the West', exploring the paradox of Australia's identity as a `Western' country in the Asian region, and tracing Australia's uneasy relationship with its Asian neighbours, from the White Australia policy to contemporary multicultural society. Finally, Ang draws together her discussion of `Asia' and `the West' to consider the social and intellectual space of the `in-between', arguing for a theorising not of `difference' but of `togetherness' in contemporary societies.

A chronological account of the development of the Two-Truth theory which forms the foundation of T'ien T'ai philosophy, the teaching of the Threefold Truth, and includes an annotated translation of Chih-i's Fa hua hsuan i. "...a "must" for all major libraries..." Choice "...a "must" for all Buddhist collections..." Religious Studies Review

Midway through the reign of the Ch'ien-lung emperor, Hungli, in the most prosperous period of China's last imperial dynasty, mass hysteria broke out among the common people. It was feared that sorcerers were roaming the land, clipping off the ends of men's queues (the braids worn by royal decree), and chanting magical incantations over them in order to steal the souls of their owners. In a fascinating chronicle of this epidemy of fear and the official prosecution of soulstealers that ensued, Philip Kuhn provides an intimate glimpse into the world of eighteenth-century China. Kuhn weaves his exploration of the sorcery cases with a survey of the social and economic history of the era. Drawing on a rich repository of documents found in the imperial archives, he presents in detail the harrowing interrogations of the accused--a ragtag assortment of vagabonds, beggars, and roving clergy--conducted under torture by provincial magistrates. In tracing the panic's spread from peasant hut to imperial court, Kuhn unmasks the political menace lurking behind the queue-clipping scare as well as the complex of folk beliefs that lay beneath popular fears of sorcery. Kuhn shows how the campaign against sorcery provides insight into the period's social structure and ethnic tensions, the relationship between monarchs and bureaucrats, and the inner structure of the state. Whatever its intended purposes, the author argues, the campaign offered Hungli a splendid chance to force his provincial chiefs to crack down on local officials, to reinforce his personal supremacy over top bureaucrats, and to restate the norms of official behavior.

The Grand Scribe's Records, Volume XI presents the final nine memoirs of Ssu-ma Ch'ien's history, continuing the series of collective biographies with seven more prosopographies on the ruthless officials, the wandering gallants, the artful favorites, those who discern auspicious days, turtle and stalk diviners, and those whose goods increase, punctuated by the final account of Emperor Wu's wars against neighboring peoples and concluded with Ssu-ma Ch'ien's postface containing a history of his family and himself.

From a top Norwegian bass player, Bass Detector is all about taking risks & breaking with routine! Featured Artists Jens Fossum: bass, cello, guitars, keys, erhu, pipa, mandolin Hvard Fossum: saxes, clarinet, flute Brge Are Halvorsen: sax Anders Aarum: Rhodes, keys Jrn ien: keys Ivar Thormods'ther, Tor Bjarne Bjelland: drums, percussion Hermund Nygrd, Hkon Mjset Johansen: drums Melvin Smith, Bud Smith: horns.

With Part I of the two-part fifth volume of Ssu-ma Ch’ien’s Shi chi (The Grand Scribe’s Records), we enter the world of the shih chia or "hereditary houses." These ten chapters trace the history of China’s first states, from their establishment in the 11th century B.C. until their incorporation in the first empire under the Ch’in in 221 B.C. Combining myth, anecdote, chronicle, and biography based on early written and oral sources, many no longer extant, the narratives make for compelling reading, as dramatic and readable as any in this grand history.

Extrait : Car ne croyez pas si ne voulez errer à vostre escient, que ien parle comme les Juifz de la loy. Je ne suis pas nay en telle planette, et ne m’advint oncques de mentir ou asseurer chose que ne feust veritable : agentes et consentientes, cest a dire qui na conscience na rien. Jen parle comme sainct Jehan de lApocalypse : quod bibimus testamur. C’est des horribles faicts et prouesses de Pantagruel, lequel iay servy à guaiges des que ie fus hors de paige, iusques a present, que par son congie men suis venu ung iour visiter mon pays de vache et scavoir s’il y avoit encores en vie nul de mes parens. Pourtant, affin que ie fasse fin à ce prologue, tout ainsi comme ie me donne à cent mille panerees de beaulx diables corps et ame, trippes et boyaulx, en cas que ien mente en toute lhistoire dung seul mot, pareillement le feu sainct Antoine vous arde, mau de terre vous vire, le lancy, le mau lubec vous trousse, la caquesangue vous viengne, le mau fin feu de ricque racque, aussi menu que poil de vache, tout renforcé de vif argent, vous puisse entrer au fondement, et comme Sodome et Gomorre puissez tomber en soulfre en feu et abysme, en cas que vous ne croyez fermement tout ce que ie vous racompteray en ceste presente chronicque.

In this major new book, leading cultural thinker Ien Ang engages with urgent questions of identity in an age of globalisation and diaspora. The starting point for Ang's discussion is the experience of visiting Taiwan. Ang, a person of Chinese descent, born in Indonesia and raised in the Netherlands, found herself "faced with an almost insurmountable difficulty" - surrounded by people who expected her to speak to them in Chinese. She writes: "It was the beginning of an almost decade-long engagement with the predicaments of `Chineseness' in diaspora. In Taiwan I was different because I couldn't speak Chinese; in the West I was different because I looked Chinese". From this autobiographical beginning, Ang goes on to reflect upon tensions between `Asia' and `the West' at a national and global level, and to consider the disparate meanings of `Chineseness' in the contemporary world. She offers a critique of the increasingly aggressive construction of a global Chineseness, and challenges Western tendencies to equate `Chinese' with `Asian' identity. Ang then turns to `the West', exploring the paradox of Australia's identity as a `Western' country in the Asian region, and tracing Australia's uneasy relationship with its Asian neighbours, from the White Australia policy to contemporary multicultural society. Finally, Ang draws together her discussion of `Asia' and `the West' to consider the social and intellectual space of the `in-between', arguing for a theorising not of `difference' but of `togetherness' in contemporary societies.