Princeton University Press opens office in China

为了在世界范围内更深入地推动大学出版社的学术使命并开展多样的业务活动,普林斯顿大学出版社于2017年2月成功在中国建立了法律实体,这使得普林斯顿大学出版社在成为一个全球化出版社的道路上迈入了更新的阶段。2017年8月,普林斯顿大学出版社位于北京的中国办公室正式揭幕,期望未来能在东西方学术及文化交流中起到重要作用。

As a crucial milestone in the effort to build a thriving global university press, Princeton University Press successfully established a legal entity in China on Feb. 14, 2017, which enables PUP to further advance its scholarly mission and business ambition on a global stage. PUP announced the opening of its China Office in August 2017. PUP wishes to play a more important role in fostering cross-cultural academic conversations.

Princeton University Press is very proud to announce the opening of its China office in Beijing on August 15, 2017, the first such presence for a U.S. university press. Following the successful establishment of its first international office, in Europe in 1999, PUP has chosen to expand in China because of the country’s growing investment in higher education and scholarly research and its increasing centrality in the world of ideas and the world itself. The Press regards its opening in China as a step toward greater engagement with outstanding scholars in China and throughout Asia, both as readers and as prospective authors.

Princeton’s China office is led by Lingxi Li, a graduate of Beijing Normal and Columbia universities. In the past few months, we are very proud to have hired an additional three office staff members to drive and support our efforts in China: Chu Wu, who transferred from Princeton to the China office to begin a new role as the Operations and Marketing Associate; Tiantian Li, who joined the China office as Business Analyst; and Jingwen Sun, who is our Consultative Sales Associate.

During this year’s Beijing Book Fair (August 23-27, 2017) Princeton University Press sent a team of six: Scot Kuehm (CFO), Al Bertrand (Editor-in-Chief and Associate Publishing Director), Brigitta van Rheinberg (Director of Global Development and History Publisher), Kim Williams (International Rights Director, from the UK office), Alison Kalett (Executive Editor, Biology and Neuroscience), and Vickie Kearn (Executive Editor, Mathematics and Computer Science). The team had many successful meetings before and during the Fair: visits, facilitated by PUP’s Chinese subagent David Tsai, from the Bardon Chinese Media Agency, to several publishers (such as Ginkgo, Citic, China Machine Press), as well as meetings during the Fair with many other of the Press’s prominent Chinese publishing partners. PUP now typically concludes more than 100 Chinese-language licenses annually in China, the biggest translation market for PUP.

The team also concluded successful meetings with a host of important distributors such as CEPIEC and CNPIEC, the latter one of the leading distributors in China, as well as Amazon China, Shanghai Book Trader, and the DeGruyter team, among many others.

Princeton’s team was also involved in two major speaking events during the Book Fair: One was called “Princeton University Press: The Growth of Translation Licensing in China and Opportunities to Collaborate in the Future,” a presentation by Kim Williams detailing PUP’s rights activities and laying out future collaboration with Chinese publishing colleagues. The second presentation was a keynote speech given by Al Bertrand during the Fair’s Academic Publishing forum, with the title “Maintaining Academic Excellence, Reaching a Global Audience.” In his presentation, Bertrand described the Press’s efforts in the global arena and gave an overview of how the Press maintains its standard of excellence. The overall theme for this year’s publishing forum was “University Presses in a Global Context: Disseminating Knowledge Worldwide.” Other speakers were Wu Shulin, Vice President of the Publishers Association of China; Ju Dongming, Director of Zheijang University Press; and Peter Schoppert, Director of the National University of Singapore Press. Brigitta van Rheinberg moderated the event.

On the Sunday after the Fair, Princeton’s team hosted its second annual meeting with its China Academic Advisory Board, which consists of eleven leading Chinese scholars, who will be working with PUP on deepening our institutional relationships in the Chinese academy as well as identifying individual scholarly projects that will contribute to our effort to make Princeton’s author pool more global, especially regarding China.

Youngsuk Chi, Chairman of Elsevier and a member of the PUP Board of Trustees, gave the opening remarks, which was followed by presentations by board members, who gave overviews of their fields and spoke about how PUP can engage with scholars in these disciplines.

We couldn’t be more grateful to everyone we met and talked with at the Beijing Book Fair and throughout our exciting and successful trip to China. With our new China office, with our new PUP colleagues in China, with the renewal of our conversations with our China Academic Advisory Board, and with a host of related activities, our connections with the Chinese publishing and academic communities are growing stronger every day.

 

A peek inside Chinese Painting and its Audiences

ClunasBased on the A.W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, Chinese Painting and its Audiences defines Chinese painting, explores its origins, and studies it’s relationship with viewers. Leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known paintings to show how Chinese painting has been understood by a range of audiences, from the Ming Dynasty to today. Arguing that audiences within China were crucially important to the evolution of Chinese painting, Clunas considers how Chinese artists have imagined the reception of their own work. By looking at paintings that depict people looking at paintings, he introduces readers to ideal types of viewers: the scholar, the gentleman, the merchant, the nation, and the people. Just in time for Asia Week New York, here’s a sneak peek at some of the images, some of which are discussed here in English for the first time:

 

Craig Clunas is Professor of the History of Art at the University of Oxford. His books include Screen of Kings: Royal Art and Power in Ming China, Empire of Great Brightness: Visual and Material Culture and Social Status in Early Modern China, and Art in China.

Craig Clunas on Chinese Painting and its Audiences

ClunasWhat is Chinese painting? When did it begin? And what are the different associations of this term in China and the West? In Chinese Painting and Its Audiences, which is based on the A. W. Mellon Lectures in the Fine Arts given at the National Gallery of Art, leading art historian Craig Clunas draws from a wealth of artistic masterpieces and lesser-known pictures to show how Chinese painting has been understood by a range of audiences over five centuries, from the Ming Dynasty to today. Recently, Clunas took the time to answer some questions about the book.

There are lots of books about Chinese art, what’s the particular scope of this one?

CC: This book isn’t about the whole of Chinese art, but it looks at the important art of painting in China over the last five hundred years or so, from the Ming Dynasty (1368-1644) to the very recent past. It does it not from the point of view of the creation of Chinese painting but through a history of looking at it, and a history of the types of viewers who have formed the very diverse audiences for it over those centuries.

If I don’t know much about Chinese culture, will I be able to understand this book?

CC: I hope anybody interested in art can get something from this book. It has its origins in a lecture series, the A. W. Mellon Lectures in the Fine Arts, held regularly at the National Gallery of Art in Washington, DC, since 1953. In 2012 I gave these lectures (with the same title as the book); that’s only the second time in over sixty years that art from China has been the focus of a Mellon Lecture series. So I was very conscious of addressing a non-specialist audience, of people with an interest in the visual arts generally but without any specific expertise, and I’ve tried to keep the technicalities to a minimum in the main text, while still providing the evidence for other scholars to judge the strength of my arguments. When people say, ‘I don’t know anything about Chinese art,’ they often in fact already have a strong set of preconceptions, and I want to dispel some of these by showing the actual variety of painting being produced over a long time span, including work made in China in the past which tends to get left out of the category called ‘Chinese painting’ today.

How would you break down the main argument? 

CC: Obviously, back in the sixteenth century people in China who viewed a work by a famous painter of the day, or an old master from the past, didn’t think of what they were looking at as ‘Chinese painting.’ To them, it was just ‘painting.’ Today, whether in the Chinese-speaking world or outside it, the category ‘Chinese painting’ is the meaningful one we use to describe both historic painting and contemporary work of certain kinds. The book looks at how this came about, and shows how it was through the actions of viewers that this cultural category was formed, concentrating on certain kinds of pictures and marginalizing others. I’m claiming that the understanding of Chinese painting in some ways ran before it could walk, making big generalizations about the subject before much of the detailed work was done. These generalizations then fed into art history as a whole, where ‘Chinese painting’ stands as probably the major counter-example to the western tradition of art. I’m arguing here that the category ‘Chinese painting’ isn’t a timeless essence of Chinese culture, or an imposition on China from outside, but the result of a complex set of historical processes involving different types of audiences.

How does the book do this? 

CC: Firstly, by showing a fresh and broad set of images, you can’t write about pictures without showing them! The book is very heavily illustrated; it includes some familiar paintings which everybody already interested in the topic might recognize (though I hope they are talked about in a new way), but it also has lots of unfamiliar images, pictures which haven’t been widely reproduced before. I hope every reader will see something surprising and something beautiful. At the book’s heart are a sequence of what to me are really interesting paintings of different types of people – men and women, emperors and merchants, scholars and gallery-goers – looking at paintings. These pictures which take viewing as their subject can tell us a lot. They are at the core of a sequence of chapters which roughly speaking takes the topic from the fifteenth century to our own time, looking at a number of ideal audiences for Chinese painting; I’ve called these: the gentleman, the emperor, the merchant, the nation, the people. I’ve tried to balance analysis of the images themselves with the context in which they were produced, and to look at audiences both inside and outside China, which go back a lot longer than people might imagine. I’m obviously dependent on the specialist scholarship of other writers, and I’ve tried to pull together some of this work to give readers who might be interested in knowing more about a particular topic a sense of some of the great work being done now on Chinese painting. You can now read extensively in English about Chinese painting theory and criticism, and the lives of individual artists, over a broad time span. I’d be pleased if this book made people just a bit more aware of that great body of knowledge, and of the sheer scale of China’s artistic production.

How do you think this book might be received in China? 

CC: I’ve written other books on Chinese art, mostly of the Ming period, which have been translated into Chinese, and what I find interesting (and a bit surprising) is how some Chinese readers find contemporary resonances in books which I thought of when I wrote them as being ‘just’ about history. So I’ve come to accept that the history we write is never ‘just’ about the past. I’ve also learned (and this would be one of the main arguments of the book) that it’s wrong to imagine some homogeneous ‘Chinese view’ of painting or anything else, as if everybody in that huge country thought the same way. I hope some readers there might find it intriguing, and that even if they don’t like its way of arguing they would recognise the respect I feel for one of the world’s great bodies of art and human creativity.

How do you see the story of Chinese painting and its audiences developing in the future? 

CC: Painting, whether in brush and ink or oil on canvas, is only one of the practices of the visual arts in China today, but it remains an extremely important one. This is not least because the boom in the art market in China makes works of both past and present hugely valuable commodities. It seems pretty unlikely to me that the significant collections of Chinese painting outside China (whether in museums or in private hands) will grow very much in the future, the gravitational pull of the Chinese market is now just too strong. But the digital reproduction of artworks, which is proceeding now at a terrific pace, may mean that the physical location of paintings will matter less and less, their audiences will become more global and the composition of these audiences will get more and more diverse. That’s perhaps going to make it harder and harder for a restrictive definition of ‘Chinese painting’ to sustain itself, and maybe in time it will just be part of something called ‘painting’ again, or – who knows – even the dominant strand within it.

Craig Clunas is the Professor of History of Art of Oxford University in England. His books include Screen of Kings: Royal Art and Power in Ming China, Empire of Great Brightness: Visual and Material Culture and Social Status in Early Modern China, and Art in China.

Banned Books Week: Remembering David Tod Roy & The Plum in the Golden Vase

Over the course of history and across cultures, books have been banned for various reasons: religious and political, sexual and social. From the Princeton University Press archives, perhaps none is more remarkable than The Plum in the Golden Vase or, Chin P’ing Mei. Equally remarkable is the book’s translator: Crowning nearly 50 years of scholarship, the late David Tod Roy published the fifth and final volume of his masterful translation of this ‘banned book’ in 2013, and I had the pleasure of working as his publicist. The culmination of this project marked the pinnacle of David’s career, one that too sadly coincided with his diagnosis with Lou Gehrig’s disease. In spite of his physical decline, David was wonderfully engaged and engaging during the months following the book’s publication, as interview requests poured in from The New York Times and beyond. He spoke thoughtfully about his lifelong love of Chinese literature, his adventurous youth as the child of Presbyterian missionaries in China, and what exactly led him to open up The Plum in the Golden Vase for the first time (Hint: it’s a pretty racy read).

Written anonymously, the late sixteenth-century novel that became Roy’s lifelong work is a jewel of Ming-era Chinese literature, presenting an impressively detailed picture of daily Chinese life. Famous for its unprecedented eroticism, the book was described by David Marche in the LA Review of Books as “Jane Austen meets hard-core pornography.” It will come as no surprise that the book was long banned, restricted to high officials in the Chinese government, had its erotic content edited out, or replaced with Latin. The interviews David Roy did about the book before his recent death, this one for the Tableau, touch on its history of censorship:

The Chin P’ing Mei has been banned by various Chinese governments ever since it first appeared, including that of Mao Zedong. Interestingly, Mao’s diary indicated that he was an avid fan of the novel and thought it was a profound work, but he didn’t want his citizens to read it. One edition was published under Mao’s aegis, but it was restricted only to upper levels of the Communist party.

Though the novel is about more than sex—it is also considered significant for its absence of mythical heroes, attention to female psychology, and depiction of everyday life—the level of eroticism in the book has been surprising even to modern day readers. On the occasion of the release of Roy’s translation, the New York Times wrote:

“When I taught it, my students were flabbergasted, even though they knew about the novel’s reputation,” said Patricia Sieber, a professor of Chinese literature at Ohio State University. “S-and-M, the use of unusual objects as sex toys, excessive use of aphrodisiacs, sex under all kinds of nefarious circumstances — you name it, it’s all there.”

The book’s pornographic reputation attracted a teenage Roy, but his translation, a three-decade project, reflects a lifelong fascination with Chinese literature and is celebrated today for its exhaustive research that includes 4,400 endnotes. Its publication in 2013 marked a major personal achievement for Roy and a historic publishing event for PUP. As for the book’s availability in modern China, Roy said:

Now the book is available, but it’s not always easy to obtain. Since Mao’s death there has been a flood of scholarship in Chinese on the Chin P’ing Mei; there is even a periodical on Chin P’ing Mei studies. I’ve drawn heavily on that material, but I’ve actually discovered quite a few sources that haven’t been identified yet by Chinese scholars.

You can read more about The Plum in the Golden Vase here, and more about the book’s illustrations on our design Tumblr.

A University of Chicago memorial service will be held for David Tod Roy in October.

Plum

Tonio Andrade: Animals as Weaponry

By Tonio Andrade

01 Firebird

(Source: Zeng Gongliang 曾公亮, Wu jing zong yao 武经总要, in Zhong guo bing shu ji cheng 中国兵书集成, Beijing: People’s Liberation Army Press, 1988, juan 11, huo gong [p. 512].)

Firebird

Before guided missiles, humans had few ways to attack their enemies remotely, so they tried using animals. The Chinese were enthusiastic practitioners of this art. The firebird was a simple, if imprecise example. This image is from a Chinese military manual from the 1000s, and its accompanying text includes instructions: “Take a peach pit and cut it in half. Hollow out the middle and fill it with mugwort tinder. Then cut two holes and put it back together. Before this, capture from within the enemy’s territory some wild pheasants. Tie the peach pits to their necks, and then prick their tails with a needle and set them free. They will flee back into the grass, at which point the peach pits will let loose their fire.”

Fire Sparrows

(Source: Zeng Gongliang 曾公亮, Wu jing zong yao 武经总要, in Zhong guo bing shu ji cheng 中国兵书集成, Beijing: People’s Liberation Army Press, 1988, juan 11, huo gong [p. 512].)

Fire Sparrows

Pheasants might have been suitable to attack a foe in the field, but what if the enemy held a city? In this case one could use urban birds, deploying hundreds of them at a time to lay waste to enemy buildings. This image, from the same eleventh-century military manual, depicts fire sparrows, and the accompanying text explains how to prepare them: “Hollow out apricot pits and fill them with mugwort tinder. Then capture from the enemy’s town and warehouses several hundred sparrows. Tie the apricot pits to their legs and then add a bit of fire [to the tinder]. At dusk, when the flocks fly into the city to rest for the night, they will settle in large groups in the houses and buildings, and at this moment the fire will flame up.”

03 Fire Ox Image

(Source: Wu jing zong yao, juan 11, “huo gong”.)

Fire Ox

If birds proved too subtle, one could also use fire-oxen, such as the one depicted here. In this case, the fire is used less as an incendiary than as a motivator. One fit one’s ox with spears and then affixed straw soaked in oil to his or her tail. After it’s set alight, the ox would charge madly toward the enemy.

Thundering bomb fire-ox

(Source: Jiao Yu 焦玉 [attributed], Wu bei huo long jing 武備火龍經, 4 juans, Xianfeng ding yi year [1857], juan 2 [copy held in Nanyang Technological University Library, Singapore].)

Exploding Fire Ox

As the Chinese perfected gunpowder mixtures, they added bombs to these living weapons, as in this image, where we see a classical fire-ox, motivated to run by the burning reeds, with a bomb on its back. The bomb was timed to explode when the poor beast reached the enemy.

05 Rocket Cat Image

(Source: Franz Helm, Feuer Buech, durch Eurem gelertten Kriegs verstenndigen mit grossem Vleis…, Germany, c. 1584, copy held at University of Pennsylvania Rare Book & Manuscript Library, Ms. Codex 109, viewable online at http://dla.library.upenn.edu/dla/medren/detail.html?id=MEDREN_1580451.)

Firecat and Firebird

Europeans also used animals to deliver incendiaries. Here is an image of a cat and a bird, each with a sack of burning material attached to them. The idea was to kidnap a domestic cat from the enemy’s city, attach a sack of incendiary material to it, and then shoo it home. The idea was that it would then run and hide in a hay loft or barn, which would then, if things went as planned, catch on fire.

Gunpowder Age andradeTonio Andrade is professor of history at Emory University and the author of The Gunpowder Age, as well as Lost Colony: The Untold Story of China’s First Great Victory over the West (Princeton) and How Taiwan Became Chinese.

Ai Weiwei free to travel overseas

Today The Guardian reported that Ai Weiwei is free to travel overseas once again. One of China’s most prolific artists and controversial figures, his art and social media use has championed free speech and human rights, even as he was banned from leaving China. Weiwei has ties to Princeton, where his Circle of Animals/Zodiac Heads is currently on display at the University’s Scudder Plaza through December 4, 2016. His book, Ai Weiwei-isms, a collection of quotes reflecting his thoughts on key aspects of his art, politics, and life, was published with Princeton University Press in 2012.

From The Guardian:

More than four years after he was banned from leaving his native China, artist Ai Weiwei is free to travel again after Beijing authorities returned his passport.

“When I got it back I felt my heart was at peace,” the artist told the Guardian on Wednesday afternoon, just hours after police handed him back the travel document and informed him he was free to go overseas.

“I feel pleased. This was something that needed to be done,” added Ai, who has long been a vocal critic of China’s leaders. “I was quite frustrated when my right to travel was taken away but now I feel much more positive about my condition.

“I think they should have given it back some time ago – and maybe after so many years they understand me better.”

The artist posted a celebratory Instagram message alongside a photograph of himself posing with the document. “Today I got my passport,” it read.

Ai said his first trip would be to Germany, where his six-year-old son has been living since last year.

Read the rest here.

Weiwei wrote in Ai Weiwei-isms, “Once you’ve tasted freedom, it stays in your heart and no one can take it. Then, you can be more powerful than a whole country.”

Wishing him well in his travels.

New Art and Architecture Catalog!

Art and Architecture CatalogBe among the first to check out our new art and architecture catalog!
http://press.princeton.edu/catalogs/art13.pdf

Of particular interest is Ai Weiwei’s Weiwei-isms, edited by Larry Warsh. Ai Weiwei is one of China’s most influential and inspiring figures. Artist, architect, curator, and activist, he has been an outspoken critic of the Chinese government’s stance on human rights and democracy. This collection of quotes demonstrates the elegant simplicity of Ai Weiwei’s thoughts on key aspects of his art, politics, and life.

Also be sure to note Robert Geddes’ Fit: An Architect’s Manifesto, a book about architecture and society that seeks to fundamentally change how architects and the public think about the task of design. For further reading on architecture, check out the POINT: Essays on Architecture series, featuring titles such as David Joselit’s trenchant illustrated After Art in which the author describes how art and architecture are being transformed in the age of Google.

We’ll also see you at the College Art Association’s annual conference February 13-16 in New York, NY at booth 107. Random drawings for two signed copies of Weiwei-isms will be held. Stop by for a visit and to enter for a chance to win!

Weiwei-isms