Search results for ""Author William Watson""

US President Barack Obama has called economic inequality the "defining issue of our time." It has inspired the "Occupy" movements, made a French economist into a global celebrity, and given us a new expression - the "one percent." But is our preoccupation with inequality really justified? Or wise? In his new book, William Watson argues that focusing on inequality is both an error and a trap. It is an error because much inequality is "good," the reward for thrift, industry, and invention. It is a trap because it leads us to fixate on the top end of the income distribution, rather than on those at the bottom who need help most. In fact, if we respond to growing inequality by fighting capitalism rather than poverty, we may end up both poorer and less equal. Explaining the complexities of modern economics in a clear, accessible style, The Inequality Trap is the must-read rejoinder to the idea that fighting inequality should be our top policy priority.

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For more than forty years William Watson has occupied a unique place in the study and teaching of Chinese art in Great Britain. Professor Watson's publications cover a wide field, his command of Chinese, Japanese, Russian and western languages giving access to the fullest literature on his subjects. The colloquies he organized at the Percival David Foundation achieved international repute, with results that remain on record. At the Royal Academy of Arts he took a leading part in the Chinese archaeological exhibition of 1972 which reinstated cultural relations between Britain and China. Also at the Royal Academy he was the instigator and chief organizer of the Japanese exhibition of 1982, in which for the first time the art of the Tokugawa period was comprehensively presented outside of Japan as enshrining the national genius. The present two volumes collect Professor Watson's main smaller publications made in the course of museum and university careers. Many are specific studies of works in terms of cultural context, dating and historical significance. They contain mainly writing on Chinese, Japanese and Korean subjects, in particular the bronze art, ceramics and sculpture of the T'ang and earlier periods. Painting is treated in some closely defined topics.

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This book is the first in a major three-volume series that will survey China's immense wealth of art, architecture, and artifacts from prehistoric times to the twentieth century. The Arts of China to A.D. 900 investigates the beginnings of the traditions on which much of the art rests, moving from Neolithic and Bronze Age China to the era of the Tang Dynasty around A.D. 900.William Watson discusses in lively detail a wide range of art forms and techniques: porcelain and pottery, lacquer, religious and secular painting and sculpture, mural painting, monumental sculpture and architecture. He explains the materials and techniques of bronze casting, jade carving, pottery manufacture, and other arts, and he describes the most important sites, the artifacts that were produced at each one, and the historical interactions between different areas. He discusses the iconography, the technique and the function of every art form. Written by one of the most distinguished scholars in the field of Chinese art and archaeology, this lavishly illustrated book will be a valuable resource for both experts and beginners in the field.

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In this volume, William Watson and Chuimei Ho begin with discussions of “fine” art and painting and progress to an analysis of carving and sculpture, ceramics, glassware, and textiles. The authors demonstrate how, in the age of the Emperors Kangxi, Yongzheng and Qianlong, the “decorative” arts rose to prominence in a way quite unlike the western experience. Avoiding misrepresentative categorization, they single out period styles, identify repeated phases of archaism and Buddhist art, and discuss characteristic groups of jade, ivory, ceramics, glassware, and textiles. They consider the importance of the imperial workshops and their role in developing craftsmen’s skills and encouraging the cross-over of techniques from different disciplines, and they direct attention to the compelling influence of Emperor Qianlong’s aesthetic innovations.In architecture, the vast plan and overwhelming authority of the imperial buildings is discussed in contrast with the restrained subtlety of domestic architecture and garden design, where magnificent rocks were the principal feature just as in landscape painting. The survey concludes by examining the development of East/West trade and the effects of commercialization on Chinese arts and crafts. This is a handsome, well-illustrated book that will be a valuable and illuminating resource for all who are interested in the arts of China.

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For more than forty years William Watson has occupied a unique place in the study and teaching of Chinese art in Great Britain. Professor Watson's publications cover a wide field, his command of Chinese, Japanese, Russian and western languages giving access to the fullest literature on his subjects. The colloquies he organized at the Percival David Foundation achieved international repute, with results that remain on record. At the Royal Academy of Arts he took a leading part in the Chinese archaeological exhibition of 1972 which reinstated cultural relations between Britain and China. Also at the Royal Academy he was the instigator and chief organizer of the Japanese exhibition of 1982, in which for the first time the art of the Tokugawa period was comprehensively presented outside of Japan as enshrining the national genius. The present two volumes collect Professor Watson's main smaller publications made in the course of museum and university careers. Many are specific studies of works in terms of cultural context, dating and historical significance. They contain mainly writing on Chinese, Japanese and Korean subjects, in particular the bronze art, ceramics and sculpture of the T'ang and earlier periods. Painting is treated in some closely defined topics. Contents: Preface The Lathe in Antiquity Ancient Khorezm The Seligman Gift A Grave Guardian from Ch'ang Sha A Bronze Mirror from Shao Hsing Recent Discoveries in Chinese Archaeology I & II A Buddhist Patron of the Refectory Chinese Lacquered Wine-cups The Earliest Buddhist Images of Korea Sung Bronzes A Dated Buddhist Image of the Northern Wei Period A Jade Hatstand An Inscribed Jade Cup from Samarqand A Chinese Bronze Bell of the Fifth Century BC A Chinese Bronze Figure of the Fourth Century BC The Kingdom of Tien and the Dong Son Culture Inner Asia and China in the pre-Han Period Overlay and p'ing-t'o in T'ang Silverwork On T'ang Soft-glazed Pottery The Thai-British Archaeological Expedition Chinese Ceramics from Neolithic to T'ang History and Technological History Traditions of Material Culture in the Territory of Ch'u The Chinese Contribution to Nomad Culture in the pre-Han and early Han Periods

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