This book examines the evolution of the city’s architecture and urban form, telling the story of Shanghai through its architecture and urban development, using contemporary photographs and archival materials to show just how extraordinary Shanghai’s architecture is in terms of its variety and the interweaving of international styles and design movements.
This is a highly engaging and visual account of China’s 20th-century architecture through the lens of one of the country’s most distinguished designers. Luke Him Sau/Lu Qianshou (1904–1991) is best known as the architect of the iconic Bank of China Headquarters in Shanghai. The book charts Luke’s life and work, commencing with his childhood in colonial Hong Kong, his apprenticeship with a British architectural firm and his education at the Architectural Association (1927–30). In London, Luke was offered the post of Head of the Architecture Department at the newly established Bank of China, where IM Pei’s father was a senior figure. Luke spent the next seven years in Shanghai designing buildings all over China for the Bank before the Japanese invasion in 1937 forced him, and countless others, to flee to the proxy wartime capital of Chongqing. In 1945 he returned to Shanghai where he formed a partnership with four other Chinese graduates of UK universities; but civil war (between the Communists and Nationalists) once again caused him to uproot in 1949, when he moved to Hong Kong and once again re-established his career.
Edward Denison will be speaking at the World Congress.
A biography of one of the leading Art Deco architects in Shanghai’s former French Concession and his buildings, illustrated with contemporary photographs and archival materials – with a list of all of his Shanghai buildings (over 100 still stand).
Spencer Dodington will be speaking at the World Congress. We will see several of Veysseyre’s buildings on our tours.
The Shanghai Art Deco classic by the author-photographer team of Tess Johnston and Deke Erh, who brought Shanghai’s remarkable historic architecture to the attention of the world. The book covers architecture, graphic design, objects, people and places. That’s the good news. The bad news: it’s out of print, so beg, borrow, or steal a copy!
Out of print, some used copies available online.
This book tells the story of the making of the Shanghai’s famous historic waterfront [which includes just three Art Deco buildings, but they are spectacular!). The main focus is on the vibrant years of the 1920s and 1930s when most of the Bund’s monumental edifices were built as a lasting testament to the city’s commercial success and symbolized the city’s passage to sophistication and modernity. This book goes far beyond the facades of the buildings, examining the fascinating historical and social context of this area and profiling the many key figures and organizations that made the Bund in years gone by and that are remodeling it today.
Peace at the Cathay Peter Hibbard
Shanghai was a frenzy of development in the early 20th century as businessmen, thrill-seekers and refugees poured in from all corners of the globe. The Far East’s most cosmopolitan city exuded luxury, style and excitement. One building on Shanghai’s waterfront Bund captured it all: the Cathay Hotel (known today as the Fairmont Peace Hotel). The fortunes of this Art Deco masterpiece have mirrored those of the city, weathering war, revolution and radical social upheaval. Peace at the Cathay chronicles the fascinating stories and personalities behind the city’s most iconic landmark.
Using material from the Hudec family and Hudec’s archive, this book tells the story of Hudec and the landmark building said to be Chairman Mao’s favourite, one that remained the tallest in China until the 1980s.
Antonia Finnane proves that vibrant fashions were a vital part of Chinese life in the late imperial era, when well-to-do men and women showed a keen awareness of what was up-to-date.
Though foreigners who traveled to China in the early decades of the twentieth century came away with the impression that Chinese dress was simple and monotone, the key features of modern fashion were beginning to emerge, especially in Shanghai. Men in blue gowns donned felt caps and leather shoes, girls began to wear fitted jackets and narrow pants, and homespun garments gave way to machine-woven cloth, often made in foreign lands. These innovations marked the start of a far-reaching vestimentary revolution that would transform the clothing culture in urban and much of rural China over the next half century.
Through Finnane’s meticulous research, we are able to see how the close-fitting jacket and high collar of the 1911 Revolutionary period, the skirt and jacket-blouse of the May Fourth era, and the military style popular in the Cultural Revolution led to the variegated, globalized wardrobe of today. She brilliantly connects China’s modernization and global visibility with changes in dress, offering a vivid portrait of the complex, subtle, and sometimes contradictory ways the people of China have worn their nation on their backs.
The definitive work on Shanghai’s Art Deco visual culture. From the 1920s to the 1940s, no place was more modern than Shanghai: a veritable playground amid a sea of Asian and European influences; an urban population clamoring for all that was new and Western, but whose aesthetic sensibilities remained profoundly Chinese. In this rich social and cultural history of Shanghai’s art and culture, Lynn Pan guides the reader through the myriad world inhabited by commercial and underground artists and designers, performers, architects, decorators, patrons, as well as politicians, generals, and crime bosses. What emerges is a singular portrait of a city and its art—its life blood, in an era that continues to capture the imagination of art lovers and cultural critics today.
Lynn Pan will be speaking at the World Congress.
From the early twentieth century until the Communist takeover in 1949, Shanghai commercial artists created thousands of colorful posters and black and white advertisements that formed an essential part of modern life in the city. This visually appealing and richly illustrated work describes the origin and evolution of modern commercial art in China, focusing on colorful advertisement calendar posters that featured distinctive feminine images. It makes clear how essential commercial art and its institutional backing were to the development of modern art and even modern society in China over the past century. Selling Happiness discusses not only advertising art but also the production and marketing of the calendar poster. These posters, like other advertisements, were rendered in a Western realistic technique and were wildly and widely popular. Ordinary people throughout China often acquired them to decorate their homes. Laing outlines how the Chinese commercial artist, who rarely attended formal Western art classes, gained skills in Western representational art. In the final chapter of the book, she explains how the styles developed by the commercial poster artists during the 1920s and 1930s became the basis for certain types of propaganda art under the Chinese Communists in the 1950s and 1960s.
This catalog is a compilation of some of the best calendar posters produced during 1910s to 1930s, with the main theme focuses on Chinese women during those periods. It features artworks by such famous painters in Shanghai as Zheng Mantuo, Zhou Muqiao, Hang Zhiying, Li Mubai, Jin Xuechen and Xie Zhiguang. Also included are essays on the history and aesthetic of calendar posters. Thus, this volume is a good reference on the social as well as aesthetic development in China during the early twentieth century.
Shanghai today is a thriving, bustling metropolis. But does its avid pursuit of the modern trappings of success truly indicate that it will once again become the shining example of China’s commercial and cosmopolitan culture? While history continues to unfold, eminent China scholar Marie-Claire Bergère takes readers back to when Shanghai first opened to the world in 1842 to narrate the city’s tumultuous and unique course to the present.
Shanghai: China’s Gateway to Modernity is the first comprehensive history of Shanghai in any Western language. Divided into four parts, Bergère details Shanghai’s beginnings as a treaty port in the mid-nineteenth century; its capitalist boom following the 1911 Revolution; the fifteen years of economic and social decline initiated by the Japanese invasion in 1937, and attempts at resistance; and the city’s disgraced years under Communism. Weaving together a range of archival documents and existing histories to create a global picture of Shanghai’s past and present, Bergère shows that Shanghai’s success was not fated, as some contend, by an evolutionary pattern set into motion long before the arrival of westerners. Rather, her account identifies the relationship between the Chinese and foreigners in Shanghai—their interaction, cooperation, and rivalry—as the driving force behind the creation of an original culture, a specific modernity, founded upon western contributions but adapted to the national Chinese culture.
Eclipsed for three decades by socialism, the wheels of the Shanghai spirit began to turn in the 1990s, when the reform movement took off anew. The city is again being referred to as a model for China’s current modernization drive. Although it makes no claims to what will happen next, Bergère’s Shanghai stands as a compelling and definitive profile of a city whose urban history continues to be redefined, retold, and resold.
Nien Cheng was a Shell executive and one of old Shanghai’s elite. Her first-hand account of life for someone of her class during the cultural revolution is beautifully written, despite the painful topics – her house arrest, time in jail, and daughter’s death. The book offers a rare glimpse of Shanghai during the cultural revolution, with the added benefit of Cheng’s descriptions, detailed and immediate, that really bring it to life.
Drawing upon a unique and untapped reservoir of sources, this study traces the origin, pinnacle, and ultimate demise of a commercial dance industry in Shanghai between the end of the First World War and the early years of the People’s Republic of China. Delving deep into the world of cabarets, nightclubs, and elite ballrooms that arose in the 1920s, the book assesses how and why Chinese society incorporated and transformed this westernized world of leisure and entertainment. Focusing on the jazz-age nightlife of the city in its “golden age,” the work examines issues of colonialism and modernity, jazz and African-American culture, urban space, sociability and sexuality, and latter-day Chinese national identity formation in a tumultuous era of war and revolution.
This book explores the play of international forces and international ideas about Shanghai, looking backward as far as its transformation into a subdivided treaty port in the 1840s, and looking forward to its upcoming hosting of China’s first World’s Fair, the 2010 Expo. As such, Global Shanghaiis a lively and informative read for students and scholars of Chinese studies and urban studies and anyone interested in the history of Shanghai.
In the dazzling global metropolis of Shanghai, what has it meant to call this city home? In this account–part microhistory, part memoir–Jie Li salvages intimate recollections by successive generations of inhabitants of two vibrant, culturally mixed Shanghai alleyways from the Republican, Maoist, and post-Mao eras. Exploring three dimensions of private life–territories, artifacts, and gossip–Li re-creates the sounds, smells, look, and feel of home over a tumultuous century.
First built by British and Japanese companies in 1915 and 1927, the two homes at the center of this narrative were located in an industrial part of the former “International Settlement.” Before their recent demolition, they were nestled in Shanghai’s labyrinthine alleyways, which housed more than half of the city’s population from the Sino-Japanese War to the Cultural Revolution. Through interviews with her own family members as well as their neighbors, classmates, and co-workers, Li weaves a complex social tapestry reflecting the lived experiences of ordinary people struggling to absorb and adapt to major historical change. These voices include workers, intellectuals, Communists, Nationalists, foreigners, compradors, wives, concubines, and children who all fought for a foothold and haven in this city, witnessing spectacles so full of farce and pathos they could only be whispered as secret histories.
Rich with details of everyday life, this multifaceted social and cultural history of China’s leading metropolis in the twentieth century offers a kaleidoscopic view of Shanghai as the major site of Chinese modernization. Engaging the entire span of Shanghai’s modern history from the Opium War to the eve of the Communist takeover in 1949, Wen-hsin Yeh traces the evolution of a dazzling urban culture that became alternately isolated from and intertwined with China’s tumultuous history. Looking in particular at Shanghai’s leading banks, publishing enterprises, and department stores, she sketches the rise of a new maritime and capitalist economic culture among the city’s middle class. Making extensive use of urban tales and visual representations, the book captures urbanite voices as it uncovers the sociocultural dynamics that shaped the people and their politics.
In the 1980s, Lynn Pan returned to the Shanghai she had left as child. Tracing It Home is her elegant, beautifully rendered account of that journey, of her heritage, intertwined with the city (literally – her grandfather was a prolific builder who constructed many of Shanghai’s landmark historic Art Deco buildings, including many that we will visit) and insights into the people of Shanghai.
Gangsters ran old Shanghai, and in this delightful, well-researched book, Lynn Pan dishes the details. How they held respectable positions in banks, government, and on boards, held immense wealth, power, and the means they used to control the city.
Acclaimed Shanghainese writer Xiao Bai makes his English language debut with this heart-stopping literary noir, a richly atmospheric tale of espionage and international intrigue, set in Shanghai in 1931—an electrifying, decadent world of love, violence, and betrayal filled with femme fatales, criminals, revolutionaries, and spies.
In 1936, classical pianist Thomas Greene is recruited to Shanghai to lead a jazz orchestra of fellow African-American expats. From being flat broke in segregated Baltimore to living in a mansion with servants of his own, he becomes the toast of a city obsessed with music, money, pleasure and power, even as it ignores the rising winds of war.
Song Yuhua is refined and educated, and has been bonded since age eighteen to Shanghai’s most powerful crime boss in payment for her father’s gambling debts. Outwardly submissive, she burns with rage and risks her life spying on her master for the Communist Party.
Only when Shanghai is shattered by the Japanese invasion do Song and Thomas find their way to each other. Though their union is forbidden, neither can back down from it in the turbulent years of occupation and resistance that follow. Torn between music and survival, freedom and commitment, love and world war, they are borne on an irresistible riff of melody and improvisation toNight in Shanghai‘s final, impossible choice.
In this stunningly researched novel, Nicole Mones not only tells the forgotten story of black musicians in the Chinese jazz age, but also weaves in a startling true tale of Holocaust heroism little-known in the West.
Native son Qiu Xiaolong’s Inspector Chen Cao is a poet, assigned to the Shanghai police after college. He solves crimes in Shanghai, tackling contemporary issues from corruption to pollution to the struggles of the average person navigating work, the Party, family…Fun for history buffs: Qiu often uses history to solve his crimes. Qiu honestly and directly about contemporary issues, giving readers a genuinely unique insight into Shanghai.
In her most powerful novel yet, acclaimed author Lisa See returns to the story of sisters Pearl and May from Shanghai Girls, and Pearl’s strong-willed nineteen-year-old daughter, Joy. Reeling from newly uncovered family secrets, Joy runs away to Shanghai in early 1957 to find her birth father—the artist Z.G. Li, with whom both May and Pearl were once in love. Dazzled by him, and blinded by idealism and defiance, Joy throws herself into the New Society of Red China, heedless of the dangers in the Communist regime. Devastated by Joy’s flight and terrified for her safety, Pearl is determined to save her daughter, no matter the personal cost. From the crowded city to remote villages, Pearl confronts old demons and almost insurmountable challenges as she follows Joy, hoping for reconciliation. Yet even as Joy’s and Pearl’s separate journeys converge, one of the most tragic episodes in China’s history threatens their very lives.
Shanghainese writer Eileen Chang (Zhang Ai-ling) is considered one of China’s great 20th century writers. From one of the great families of old Shanghai, her short stories in Love in a Fallen City are set in 1930s Shanghai and Hong Kong, with themes drawn from those changing times: women, juxtaposed between the traditional and the modern, trying to find a balance.
A classic guidebook from Shanghai s roaring 1930s. Written with firsthand authority and an enthusiasm that is truly infectious, the authors captured and bottled the madness, excitement, depravity and fast bucks of the greatest boomtown the world had ever seen. Written as a guide for newcomers and visitors, this book today is a fascinating portrait of the old Shanghai in its heyday, enjoying every minute of the ride.
Our favorite Shanghai guide, and not just because it’s authored by Historic Shanghai/Shanghai Art Deco co-founder Tina Kanagaratnam (who includes lots of historical architecture). The twelve easy-to-follow itineraries – most on foot – explore the many facets of Shanghai’s urban area, including lesser-known areas such as the narrow streets behind the famous Bund and the backwaters of Suzhou Creek. There is a handy pull-out map that shows all the itineraries clearly.
There are tips on where to stop for a bite to eat en route, while color maps show the routes in detail and dynamic photography brings the city to life. Three additional excursions venture beyond Shanghai to the picturesque Grand Canal city of Suzhou – famed for its gardens, the delightful “water town” of Zhouzhuang, and the unmatched serenity of Hangzhou’s West Lake.
There is also plenty of detail on the cultural and artistic heritage of the city, a selection of recommended hotels, restaurants and bars, and comprehensive practical information to help you find your way around and enjoy exploring the city.
Constable MeeMee Khang of the late 1920s & 1930s Shanghai Flower and Bird Market Constabulary has three days to find out where this strange kitten tattooed with the Chinese characters for murder came from. Three days to find the fortune teller who sold him and three days to determine why the richest man in Shanghai must have these answers!
Tintin travels to Shanghai in The Blue Lotus, diving into the Sino-Japanese conflicts of the early 1930s. The political tensions combined with the chilling threats of drugs give the story an especially high and realistic sense of danger. Herge’s interest in China was spurred by a friendship with a young Shanghai art student named Chang Chong-chen (Zhang Chong Ren) a relationship that Tintin mirrors with a Chinese boy also named Chang Chong-chen. Herge paints a vivid picture of China and takes the opportunity to denounce ethnic prejudices (though ironically his artistic depiction of the Japanese businessman Mitsuhirato is quite grotesque). Years later, Tintin’s relationship with Chang would become the basis of Tintin in Tibet. –David Horiuchi