Chinese Plaques
Tags
Summary
The volume Chinese Plaques traces the origins and development of Chinese plaques, including the sources of inscribed characters and the origin and classification of plaques. It further introduces the historical evolution of plaques—from sprouting, formation, refinement, popularization, and flourishing to development and contemporary innovation—a long and continuous history. In addition, it discusses the artistic expression and cultural connotations of Chinese plaques, offering a comprehensive view of their historical, scholarly, practical, and artistic value.
Editor's review
Who it's for
A good fit for
- General readers interested in traditional culture and ancient architecture
- Cultural beginners who want to understand the origins and classification of plaques
- People engaged in cultural tourism interpretation or exhibition planning who need background knowledge
- Readers who enjoy cross-reading calligraphy, folklore, and institutional culture
Not a good fit for
- Connoisseurs seeking high-resolution plates and detailed chronological scholarship
- Practitioners looking for operational guides to plaque restoration techniques
- Readers who only want a concise checklist for tourist sights
Reading tips
- Start with the sections on origins and historical evolution, and build an overall framework of plaque development along a timeline.
- When reading about classification and artistic expression, recall and compare plaques you have seen in ancient buildings to deepen understanding.
- Keep a notebook and record threads such as institutions, rituals, and calligraphy separately for later extended reading.
- When visiting ancestral halls, academies, or temples, pay attention to plaques and review the corresponding chapters afterward to form a habit of observation.
About the publisher
Hohai University Press specializes in water conservancy science and technology while also publishing university textbooks and academic monographs. In the humanities and social sciences, its catalog covers essays and miscellaneous writings, culture, literary appreciation, history, classical poetry, and classic works. Representative titles include Zheng Zhenduo on Greek Myths and Heroic Legends, Liu Yizheng on the History of Ancient Chinese Culture, Lu Xun on the History of Chinese Fiction, Liu Yizheng on the Essentials of Chinese History, Long Yusheng on Ci and Qu, Lü Simian on the History of the Three Kingdoms, Lei Haizong on the History of Western Culture, and Tong Shuye on the History of the Spring and Autumn Period, written by scholars such as Zheng Zhenduo, Liu Yizheng, Lu Xun, Long Yusheng, Lü Simian, Lei Haizong, Tong Shuye, and Liang Qichao. These books focus on lectures by renowned scholars and the popularization of traditional culture. Public information on other publishing activities of the press is limited.
Contents
- 版权信息
- 序
- 第一章 中国匾额的源流
- 第一节 刻字的渊源
- 第二节 匾额的起源
- 第三节 匾额的分类
- 第二章 中国匾额的历史演进
- 第一节 萌芽于先秦，形成于汉魏
- 第二节 完善于隋唐，普及于宋元
- 第三节 繁盛于明清，发展于民国
- 第四节 创新于当代，展望于未来
- 第三章 匾额的形制和制作艺术
- 第一节 形制
- 第二节 制作艺术
- 第三节 匾额与其他艺术的关系
- 第四章 匾额的现代刻字艺术表现
- 第一节 匾额平面构成与立体空间的基本形式
- 第二节 匾额肌理与色彩的艺术表现
- 第五章 中国匾额的价值意义
- 第一节 经济类匾额
- 第二节 政治类匾额
- 第三节 文化类匾额
- 第四节 社会类匾额
- 第五节 生态类匾额
- 第六节 “错”字类匾额
- 第六章 中国匾额的审美鉴赏及当代匾额的书刻创作
- 第一节 匾额书法的审美
- 第二节 匾额创作步骤与方法
- 后记
- 中国匾额发展轴线
FAQ
Does this book contain many images of plaques?
Can I read it without a background in traditional culture?
What will I gain after reading it?
Is it suitable as a reference for cultural tourism interpretation?
Comments
Find this book
This site is an index: you start “Search all sources” in your browser, and the entries it lists all point to third-party sites; please judge their availability yourself.
About the author
Zhu Hui was born in Xinghua, Jiangsu, in 1963 and graduated from Hohai University in 1985. He is a member of the China Writers Association and vice chairman of the Jiangsu Writers Association, and serves as editor-in-chief of the magazine Yuhua. He is primarily a fiction writer, author of the novels My Expression, The Horn Comb, Heaven Knows and White Horse, while his short story The Seven-Story Pagoda won the Seventh Lu Xun Literary Prize. Twenty-one of his works are included in the collection, covering not only fiction but also Chinese painting, poetry, Chinese characters and folk customs, with categories ranging from classic works and social novels to literary appreciation and social sciences. His writing attends to real life and the many facets of society in a calm, meticulous style that weaves observation of cultural tradition into his narratives. Public information is limited, and the overall arc and evolution of his writing remain to be further studied.
Jiang Chunlin: public information about this author is limited, and only one work, Chinese Plaques, is known, catalogued under art. The plaque (bian'e) is an important carrier in traditional Chinese architecture that combines calligraphy and carving, serving both practical and symbolic functions and appearing in temples, shrines, gardens, shops and dwellings. Its wording, calligraphic style and craftsmanship often reflect the social ideas and aesthetic tastes of a particular era. Writing on this subject generally requires attention to architectural form, textual content and craft technique, explaining both the shape and use of plaques and the ritual, educational and commercial contexts behind them. The book may therefore be regarded as an introduction to plaque culture for general readers. As no reliable records of the author's life, education or positions have been found, no speculation is offered here, and an assessment of writing style and scholarly influence must await further information.
Zhang Yuwei is an author about whom limited public information is available. His representative work, currently the only title confirmed in library records, is Chinese Plaques (Zhongguo Bian'e), which is commonly classified under art. The plaque is an important cultural form in traditional Chinese architecture, combining calligraphy and carving, and is widely found in palaces, temples, gardens, shops, and residences, serving functions of identification, decoration, and moral instruction. Its inscriptions, calligraphic styles, and craftsmanship often reflect the social conditions and aesthetic tastes of a particular era. Writing on this subject suggests that the author has a sustained interest in traditional Chinese art and material culture, and tends to approach it through specific objects, tracing their formal origins and cultural meanings. Since information such as nationality, dates of birth and death, and educational background is not clearly recorded, no speculation is made here. Judging from the existing work, Zhang Yuwei writes for readers interested in traditional Chinese art, with an emphasis on introducing specialized knowledge to a general audience. His influence at present lies mainly in popularizing plaque culture for the public, and further understanding will depend on more works and materials.
