Monsieur Loo, le roman dun marchand dart asiatique (GRAND FORMAT) (French Edition)

The animal became the emblem of the land celebrated each year during the New Year festival. This book is a beautiful tale on the origins of this emblematic animal. The book comes with an additional booklet where children can try their hand at Chinese calligraphy and play games. She plans to travel to the court of Kyoto to rehabilitate the name and position of her family. In Kyoto, Yasumi, a rash and wild girl, has to comply with the uses of a an extremely brilliant, sophisticated, schorlarly, and very formal court. The sign of supreme elegance is to handle a fan at the end of which lies a small poem… Yasumi will meet there the most powerful women of her times, one of which being Murasaki Shibiku, the author of the radieux prince Genji.

His father holds the secret for manufacturing an unrivalled blue-green porcelain and is backed by the powerful merchant Wang Chun, whose daughter Zao-de plans to marry.

The sudden death of his father dramatically changes his destiny. Wang Chun breaks all his promises, steals the secret and accuses Zao-de of murdering one of his servants. Remarkably documented, superbly written, this historical novel stages the famous judge Bao Gong, symbol of justice and integrity who solves the enigma and murder. It is also an adventure novel full of unexpected events, traps, kidnappings, surprise attacks….

Here is a fun and practical method to learn the basics of the Chinese language: Have fun speaking Chinese and collecting the keys to ideograms that will open the doors of China! But things are not as easy as it seemed… Fortunately Doctor Pork is a man of many talents and under his examinations felons tend to squeal like a stuck pig before spilling the beans.

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The young Japanese girl had such a vivid dream that she longs to see it come to life. One day, by a lake she meets her grand mother who came to say her last goodbye. Akiko is in the spring of life and autumn is coming. Les contes du Mandarin Author s: He had a marvellous garden that he cherished more than everything in the world. He devoted his entire life to flowers and could grow any kind of flowers even from the rarest kind.

Unfortunately Zhan Wei, a greedy and nasty Lord decided that he wanted the garden for himself. But wisdom, embodied by the elf of the Jade Lake, will help the gardener. The flowers will get alive for one night and punish Zhang Wei and Qiu Xian will become the Guardian of flowers.

Everyone in Tokyo knows the statue of Hatchiko, which is a very famous meeting spot in front of Shibuya station. This is the true story of this famous dog! In , everyday at Shibuya station, Hatchiko awaits for its master. He has succumbed to a heart attack. For ten years, until he dies, Hatchiko will continue to go to the station every day at the same time, hoping to find his Master back. A true story of love and faithfullness.

One morning, Akiko a little Japanese girl, find some strange footprints on her window… Curious and eager for adventure she decides to follow them. She gets herself in trouble several times but strangely, she is always helped by natural elements: This short quest will teach her never turn back at the first obstacle, to ignore danger and control her fear. But why do they know her name? At the end of the way, a big surprise and a great honour are awaiting her. Juliette about to go to China wished to learn more about Chinese. How does an ideogram work? Does it look like an object?

Is it a combination of different keys…. Culture et traditions Author s: She decides to go and visit him, on the other side of the mountain. On her way, she meets peoples, animals, objects which will help her to find her way to her grand father. Each encounter is symbolised by a Chinese ancient and modern character to help the young reader associate drawings and Chinese calligraphy.

When she finally meets her grandfather, he is happy that she has heard his message of love and invites her to use his brushes to paint and write calligraphies. Beautifully illustrated, this travel through country, forests, mountains, will let the children enter the mystery of the Chinese signs, from their pictorial origin to their modern character last evolution. Homo Japonicus Author s: Free market activities were severely limited, the export of artworks forbidden and most private collections nationalized.

Newly founded museums took over the re- distribution of objects. By taking the Moscow State Museum of Oriental Art as example and based on unpublished material of the museum, Pushakova traces the new ways of selling and buying East Asian art in Russia between the founding year of the museum and Auction catalogues are an indispensable source for art market studies.

Britta Bommert evaluated all German Asian auctions for the period between and and her article provides the first systematic study on the development of this market. Until the late s, Berlin was not only the mecca for German trade in Western art, but also in art from the Far East. Through the lens of their activities she presents a survey of the market, points out the shift in focus from Japanese to Chinese art objects, provides an overview of preferred object categories and highlights the most important auctions of that time.

Alexandra von Przychowski and Esther Tisa Francini trace his collecting, the parameters and methods which informed his selection of works, and his networks of advisors. They also describe current strategies at the ultimate destination of his collection, the Museum Rietberg in Zurich, to address issues of provenance. As in the better established field of provenance research on European art, the identification of Asian objects plundered by the Nazi regime from Jewish collectors and dealers constitutes one of the most pressing issues at hand. While this aspect has so far received but scant attention, it is particularly virulent as many European art collectors in the first half of the twentieth century habitually assembled Asian works of art and artefacts, if only to decorate their homes and residences.

To various extents, Dr Otto Burchard, Edgar Worch, Felix Tikotin and many other leading European art dealers shared the tragic fate of their Jewish compatriots in having to face threats to their possessions, their homes, health and lives and the sufferings of flight and exile. Tax debts and the finance authorities, banks and the securities for loans, as well as the claims from various parties or their respective heirs form a tight web which could hardly be untangled. The possibility that individual objects of this stock might have been illegally removed from even earlier owners further complicates the situation.

Among the many spectacular cases of academic dealer-curators that were entangled in Nazi loot almost none shook the German public as severely — and garnered as much media attention — as the discovery of the massive stock of Hildebrand Gurlitt found in the residences of his son and heir Cornelius. As introduced here for the first time by Nathalie Neumann , and unnoticed by the wider public, the Gurlitt finds also included a significant number of objects hailing from Asia.

Reemtsma and the central role of his advisors. These included the Berlin museum curator Leopold Reidemeister and Martin Feddersen in Hamburg, who was forced to leave his curatorial position in because of his Jewish wife and acted as a part-time advisor to the collector. While neither Reemtsma nor Feddersen appear to have kept records of the acquisitions on which they commented, auction catalogues from the library of Feddersen bequeathed upon his death to the museum, which also received the Reemtsma collection, provided almost the only crucial clues for the provenance of individual pieces.

It remains to be seen whether the tendency towards the dominance of Chinese objects and buyers and the shift of the market place to Asia will continue further, whether other areas of interest will re- emerge or whether new developments or actors might appear. Whatever the case might be, we trust that the contributions assembled here might serve as stepping stones for the history of the dynamic market for Asian arts and would like to express our gratitude to all contributors as well as to the editor of the Journal for Art Market Studies , Susanne Meyer-Abich, for making our collaboration so pleasurable.

University of Florida Press, ; Vimalin Rujivacharakul, ed. Princeton University Press, ; Peter Noever, ed. Out of five art works he acquired, four are still in the collection of the Museum Rietberg today, while in a compensation agreement was reached with the heirs of Oppenheimer as mentioned in the introduction. Loo had a highly effective network with intermediaries bringing him the most recently discovered pieces. Early private collections of Asian art in Switzerland often ended up later at the Museum Rietberg.

Max Huggler and Johannes Itten, the two directors of those institutions, were both prominent art historians, and Itten later became the first director of the Museum Rietberg. It was an enormous achievement to gather these collections together during the war. To quote from their foreword: Numerous collectors have focused on the art of East Asia for many years.

Their understanding and interest in this art may have been sparked by economic relationships which established trade and industry with that continent, while at the same time enabling the direct purchase of valuable pieces. Many collections or part of collections found their way into the Museum Rietberg, coming from collectors such as Paul Bangerter, Julius W. It is worth focusing our attention for a moment at two of these early collectors in Switzerland, both of them female: Mary Mantel-Hess and Gret Hasler Mantel-Hess , was a sinologist and lawyer, who had lived for a while in China with his wife Mary Mantel-Hess.

He was the first president of the Rietberg Society between and , and a member of the acquisition commission of the Museum which at the beginning constituted of a large group of artists, politicians, dealers, art historian and collectors. After his death, his wife took over his position. Heinrich Mantel-Hess was also a promoter, founding member and vice-president of the Swiss Society of Friends of the East Asian culture. When the Museum Rietberg was founded she bought pieces to bequeath to the Museum after her death.

At her death she left forty-four artworks as her legacy: Consequently, Japanese, Indian and Chinese art entered their collections. Gret Hasler came from a Winterthur family, where her father worked for the famous Sulzer, a foundry company which had been an exhibitor at the World Fair in Paris in Visser published a notable description of the collection of Gret Hasler Today the Rietberg Museum holds only four jade works, but otherwise bronzes, graphic works and arms.

Hasler also bought many pieces from C. Loo in Paris in the s. Apart from the three above-mentioned collectors, other collectors with connections to von der Heydt also contributed to the growth of the museum. Several examples will be presented here.

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Fifty-two ceramic pieces in the Museum Rietberg come from the collection of Herbert von Dirksen The German diplomat, who served as ambassador in Moscow , Tokyo and London , had early developed a great interest in Asian art. He probably bought his first pieces of Chinese ceramics during this journey. Even before his long sojourn in Japan he must have accumulated a number of fine Chinese ceramics. When dispatched to the German embassy in Japan, he used his time for extensive travelling and sightseeing.

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His periodical circular letters to friends with reports on his experiences were published as a book in Dirksen was an active supporter of Asian art in Europe. In he became chairman of the Society of East Asian Art and began to encourage the organisation of an exhibition on Japanese art from important Japanese lenders in Berlin, realised in early His collection was acquired partly from dealers — he mentions Yamanaka and Hayashi in his letters, we have labels from Spink, Bluett and other on the objects.

After the war, Dirksen lost his residence in Silesia as well as most of his belongings. Some of his art collection, including his collection of Chinese ceramics as well as his books were later found in Dublin. He donated the books to the Library of the University of Cologne and most of his art collection to the City of Cologne, but he intended to sell his collection of Chinese ceramics.

The ceramics were bought by Eduard von der Heydt, with whom Dirksen had a life-long friendship. Von der Heydt mentions the collection purchase in his obituary of Dirksen: The author of these lines suggested the Museum Rietberg in Zurich. The Museum Rietberg was also given two groups of objects from the estate of the German art historian Otto Fischer While managing the institution from to , he was able to greatly enlarge the collection of contemporary art.

After more and more critical voices rose against his buying and exhibition policy, he left Stuttgart and was appointed conservator and head of the Museum of Art Kunstmuseum Basel. At the same time he started teaching at the local university. From early on he developed a pronounced interest in Asian art.

In he qualified as a professor with a thesis on Chinese art theory. He later revised this treatise and published it in under the title Chinesische Landschaftsmalerei Chinese landscape painting.

The book soon became a standard reference work and was reprinted five times: In Otto Fischer could satisfy his longstanding desire to travel to China and Japan in order to study art collections and see the famous sights. The journey was financed by the Ministry of Foreign Affairs. It seems that Otto Fischer was supposed to ameliorate the relationship between China and Germany. After his trip he had to submit a political analysis which was published in A detailed account of the trip was published in as Wanderfahrten eines Kunstfreundes in China und Japan.

According to his diary he only bought some souvenirs, as well as books, rubbings and prints. A subject that held particular interest for Otto Fischer was the history of printmaking. Fischer bought several of these inexpensive prints, mainly in Suzhou and in Shanxi province. In several places he purchased rubbings of steles or reliefs. In his diary he mentions a number of times that he was able to buy rubbings of local steles in bookshops or temples.

Part of his collection of rubbings was exhibited in in the Museum of Arts and Crafts in Zurich. Whether he continued to collect after his return is not known. Several years later Hilde Flory Fischer presented the museum with two more objects from the property of Otto Fischer: Since the s Otto Fischer had maintained a friendly relationship with Eduard von der Heydt.