内容简介

　　书中讨论的内容、使用的材料十分丰富客观，每一章所选择的主题都尽量具有延展性。因此，都城、元初社会的等级与人心、自然灾害对王朝合法性的影响、科举与文化、元代中叶过渡时期的文化政策与核心文人价值、元末艺术的总体情况、青花瓷的诞生，这七个主题尽管绝不是元代中国艺术的全部，但都具有典型性，尤其强调具体阶段的政治环境、文化心态对于创作、理解艺术品的影响。

　　《蒙古世纪》是在欧亚史和中国史中对元代（1271—1368）艺术进行再定位的研究产物，通过丰富的图像和实物材料，为我们呈现出一个多种文化模式并置、充满矛盾和复杂互动的时代。

　　马啸鸿在本书中广泛检视多种艺术媒介和物质载体，从城市建筑、墓室壁画等考古材料，到瓷器、雕塑、书画等传世作品，乃至印刷纸币等实物材料，都有涉及。他将元代的器物特征总结为三点：展示性、便携性、跨文化性，并强调看待蒙古帝国视觉艺术的整体方法：一是跨文化的视野；二是对生产工艺的关注。通过这些研究，作者考察了蒙古人的“游牧生活方式”给中国农业带来了怎样的具体挑战，以及这些社会现实如何反映在元代的视觉文化领域中。在他笔下，这一短暂而迷人的时代所创造出的视觉文化，拥有一种能够跨越不同社会等级的凝聚力。

　　全书以时间顺序和主题相结合的方式对元代文化展开探讨。每章均选择了某一特定事件或某种变革，以此出发，对当时的艺术态势和相关问题进行充分讨论。共有图版159帧，许多为稀见材料。

　　作者简介

　　马啸鸿（Shane McCausland），普林斯顿大学艺术史博士，英国伦敦大学亚非学院美术史与考古史系中国美术史教授，英国艺术与人文研究理事会（Arts and Humanities Research Council，简称AHRC）成员。主要研究方向为中国美术史、中日绘画交流史和中国视觉文化等。著有《赵孟頫：忽必烈帝国的书法与绘画》（2011）等；编有《顾恺之和他的警世卷轴》（2003），《古原宏伸关于宫廷侍女卷轴画警世性的探析》（2001）等。同时为中国艺术的学术型策展人。2010年，马啸鸿在爱尔兰策划了《关于中国的叙事图像：来自上海博物馆的15—20世纪叙事和人物画》展览，引起了欧洲艺术和学术界的广泛关注。

Content introduction

The content discussed in the book and the materials used are very rich and objective, and the theme chosen in each chapter is as malleable as possible. Therefore, the capital city, the social hierarchy and people's hearts in the early Yuan Dynasty, the influence of natural disasters on the legitimacy of the dynasty, imperial examinations and culture, cultural policies and core literati values in the transitional period of the middle Yuan Dynasty, the general situation of art at the end of the Yuan Dynasty, and the birth of blue and white porcelain, these seven themes are by no means the whole of Chinese art in the Yuan Dynasty, but they are typical. In particular, it emphasizes the influence of political environment and cultural mentality on the creation and understanding of artworks in specific stages.

The Mongolian Century is the product of a repositioning of the art of the Yuan Dynasty (1271-1368) in Eurasian and Chinese history, and through rich images and material materials, presents us with an era of juxtaposition of multiple cultural patterns, full of contradictions and complex interactions.

In this book, Ma examines a wide range of artistic media and material carriers, from archaeological materials such as urban buildings and tomb murals, to handed down works such as porcelain, sculpture, calligraphy and painting, and even physical materials such as printed paper money. He summarized the features of the artifacts of the Yuan Dynasty into three points: display, portability, and cross-culture, and emphasized the overall approach to the visual art of the Mongolian Empire: first, cross-cultural vision; The second is to pay attention to the production process. Through these studies, the authors examine how the Mongol "nomadic lifestyle" posed specific challenges to Chinese agriculture, and how these social realities were reflected in the visual cultural realm of the Yuan Dynasty. In his work, the visual culture created by this brief but fascinating era has a cohesive force that spans different social classes.

The book explores the culture of the Yuan Dynasty in a way that combines chronology and theme. Each chapter chooses a specific event or a certain revolution to start from, and fully discusses the artistic situation and related issues at that time. There are 159 plates, many of which are rare material.

About the author

Shane McCausland holds a PhD in Art History from Princeton University, Professor of the History of Chinese Art in the Department of Art History and Archaeological History at SOAS, University of London, and is a member of the Arts and Humanities Research Council (AHRC). His research interests include Chinese art history, Sino-Japanese painting exchange history and Chinese visual culture. He is the author of Zhao Mengxu «–¯ : Calligraphy and Painting in Kublai Khan's Empire (2011) He edited Gu Kaizhi and his Warning Scrolls (2003) and Hiroshin Furuhara's Analysis on the Warning Nature of the Scroll Paintings of Palace Maids (2001). He is also an academic curator of Chinese art. In 2010, Ma Xiaohong curated the exhibition "Narrative Images about China: Narrative and Figure Paintings from the 15th to 20th Centuries from the Shanghai Museum" in Ireland, which attracted wide attention from the European art and academic circles.