Ce livre réunit des portraits d’ancêtres et des estampes populaires originaires de Chine et examine les liens inexplorés qui existent entre ces deux genres apparemment distincts dans le contexte du Nouvel An chinois. Ces images témoignent de la vénération qu’ont les Chinois pour ces portraits et gravures et de la croyance voulant qu’ils puissent assurer à la fois le bonheur et la prospérité des lignées familiales. Ce livre renferme un grand éventail de xylographies (gravures), de peintures, de portraits d’ancêtres et de divinités sur papier. Il permet de se familiariser avec les valeurs familiales, les rituels, le pouvoir des images ainsi que les traditions qui unissent la société chinoise. Cet ouvrage explore, sous un angle artistique, le rôle particulier que ces images jouent dans le culte des dieux et des ancêtres dans les foyers chinois de la fin de l’Empire au début de la République.

Ce livre représente la première étude sur les thèmes et liens sous-jacents qui existent entre les portraits d’ancêtres et les estampes populaires. Il vous fera entrevoir la vie domestique, matérielle et spirituelle de société chinoise.

Gods in My Home combines ancestral paintings with traditional popular prints and examines the unexplored connection between these two seemingly separate genres in the context of Chinese Lunar New Year. The images reflect a Chinese view of reverence and the belief that portraits and prints were capable of blessing and protecting the prosperity of family lines. Featuring a wide array of prints and paintings, ancestral portraits, and paper gods, the book explores shared family values, ritual concepts, belief in visual powers, and shared traditions. The publication studies the artworks through the lens of their unique status as images used for domestic worship of popular gods and ancestors in regular households during the late imperial and early Republic periods.

This book is the first study that explores the underlying themes and connections between ancestor portraits and popular prints. It provides insights into how these images reflect a view of the domestic, material, and spiritual life of Chinese society.

Arguably the most famous fashion designer of the 20th century, Christian Dior’s feminine fashions were desired, worn, and emulated by women around the world. This new publication by ROM Press explores in detail what it was about Dior’s dramatic creations—the cuts, textiles and embroideries—that stimulated the entire Paris haute couture industry after the devastation of the Second World War. The book features the Royal Ontario Museum’s collection of Christian Dior couture (1947-1957), and is accompanied by sketches and documentary material from Christian Dior Héritage, along with archival images and striking photographs of the museum garments taken by world-renowned Dior photographer Laziz Hamani. The collection features beautiful designs from daytime to evening wear. The publication breaks new ground as it explains key Dior design signatures, based on the use of innovative and historical dressmaking techniques to explain what made the New Look so successful and why his designs were worn and emulated by woman around the world in the 1950s. Christian Dior presents new information drawn from extensive research wedded with close examination of the designs within this catalogue, making it an essential read for those interested in fashion, art, culture, and history. 

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While many publications focus on the aesthetics and symbolism of African art, few explore the historical dynamics and exchanges that have informed the way people in Africa have created, preserved, collected and sold their artworks to local and foreign patrons. The book addresses key issues of market trends, the transformation in taste and aesthetics in relation to changing historical conditions and the role of artisans, traders and collectors in mediating knowledge and value in the international art market. Richly illustrated, Africa in the Market introduces to the public the artwork in the Amrad African Art collection at the Royal Ontario Museum. The objects are framed and interpreted within essays that highlight the significant role that African makers and dealers have played in shaping Western understanding of African art. The book explores the significance of 20th century artistic production as a material component of local traditions and, at the same time, as artifacts circulating in a global market where local specificities are often lost.