The Dianshizhai huabao 點石齋畫報 "Illustrated Lithographer" was an illustrated magazine that achieved great attention in the late 19th century because it was produced on a lithographic basis, which made it possible to reach a large public. The name is derived from a building within the complex of the Shenbao Publishing House 申報館 in Shanghai where lithographic prints could be produced. Publisher of the "Illustrated Lithographer" was the British Ernest Major (1841-1908, Chinese name Meicha 美查) who also published the famous newpaper Shenbao 申報 "Shanghai News". The first issue of the Dianshizhai huabao was published on May 8, 1884 in Shanghai, the last issue came out in 1898. There were in total 528 issues (according to a lower estimation, 473 issues) including more than 4,600 illustrations. The magazine appeared on a ten-day basis (xunkan 旬刊). Each issue had the same format containing eight pages with 8 illustrations. Collectors could then assemble each issue in a traditional thread-bound booklet. The issues were numbered according to the Heavenly Stems, Earthly Branches, musical notes and the so-called Six Arts. It was sold separately or was given as a free supplement to subscribers of the newspaper Shenbao. [Source: http://www.bc.edu/research/chinagateway/culthist/dianshizhai_intro.html]
 

Volumes for 1884-1889.

The Dianshizhai huabao 點石齋畫報 "Illustrated Lithographer" was an illustrated magazine that achieved great attention in the late 19th century because it was produced on a lithographic basis, which made it possible to reach a large public. The name is derived from a building within the complex of the Shenbao Publishing House 申報館 in Shanghai where lithographic prints could be produced. Publisher of the "Illustrated Lithographer" was the British Ernest Major (1841-1908, Chinese name Meicha 美查) who also published the famous newpaper Shenbao 申報 "Shanghai News". The first issue of the Dianshizhai huabao was published on May 8, 1884 in Shanghai, the last issue came out in 1898. There were in total 528 issues (according to a lower estimation, 473 issues) including more than 4,600 illustrations. The magazine appeared on a ten-day basis (xunkan 旬刊). Each issue had the same format containing eight pages with 8 illustrations. Collectors could then assemble each issue in a traditional thread-bound booklet. The issues were numbered according to the Heavenly Stems, Earthly Branches, musical notes and the so-called Six Arts. It was sold separately or was given as a free supplement to subscribers of the newspaper Shenbao. [Source: http://www.bc.edu/research/chinagateway/culthist/dianshizhai_intro.html]
 

The prosperity and magnificence of Shanghai, at its inception, were a 'maritime marvel'. This city, full of legends, transformed from a county town on the lower reaches of the Yangtze River into one of East Asia's premier international trading ports within a mere century after the Opium Wars. It collectively challenged and reshaped China's traditional cultural order through the elements of 'foreign' influence, commerce, and women's roles. Amidst the Western winds of capitalism, Shanghai exemplified the early stages of China's capitalist development, making it an indispensable facet of Chinese modernity.

After 1949, under Communist policies, Shanghai was designated as an industrial hub, its former splendor washed away. It wasn't until the 1990s that China turned back to Shanghai in pursuit of modernity, propelling the city to prosperity once again.

This unprecedented city and economic force in Chinese history—how did it challenge and influence the broader Chinese society and culture? This book delves into the social and cultural history of Shanghai from 1843 to 1949, meticulously examining its finance, publishing, and modern retail industries. Yip Man-Sen vividly portrays China's first urban middle class through this exploration. In the early 20th century, when China's national role was relatively weak, this new affluent class, viewing commerce and consumption as patriotic endeavors, not only gained legitimacy within Confucian society but also became a driving force behind the transformation of Shanghai and a key player in the development of modern Chinese politics and nationalism.

The new often has roots in the old, and Yeh Wen-hsin argues that Shanghai has once again positioned itself at the heart of Chinese modernity, albeit with substantial efforts dedicated to unearthing its historical memories. Thus, to comprehend contemporary Shanghai, one must revisit the period prior to 1949—a Shanghai where Eileen Chang once lived, loved, and indulged. Whether the contemporary affluent class of Shanghai will once more assume a role in propelling national transformation might be glimpsed through the historical analysis presented in this book.

      上海的繁華輝煌，一開始卻是個「海上奇觀」。這座充滿傳奇的城市，在鴉片戰爭後的百餘年不僅由一個長江下游的縣城，一躍而成東亞數一數二的國際性通商巨埠，更以「洋」、「商」與「女性」共同挑戰與改變中國傳統文化的秩序。西風中的資本主義，在上海長出最能代表中國早期資本主義發展的面貌，中國的現代性不能不談上海。一九四九年後，上海在共黨政策下，被賦予製造工業的角色，一代繁華洗盡，直到九○年代，中國又回到上海找尋現代性，上海再度成為繁華的代表。

　　這個中國歷史上史無前例的城市與經濟，對廣大中國的社會與文化構成什麼挑戰與影響？本書回顧一八四三年至一九四九年的上海社會文化史，透過細細考察上海的金融、出版和現代百貨業，葉文心生動描繪中國第一批城市中產階層。在國家角色尚弱的二十世紀初期，這個新富階層在從商與消費被視為愛國志業的觀念下，不僅取得在儒家社會的正當性，從而改變了上海， 更成為近代中國政治與民族主義發展的主要力量。

　　新的往往也是舊的，葉文心認為，上海如今再度回到中國現代性的核心位置，卻有不少力氣花在挖掘過去的歷史記憶。因此要瞭解今日之上海，必須回到一九四九年前，那個張愛玲曾經生活過也貪嗔癡過的上海。而當代上海新富階層，是否會再次扮演推動國家變遷的角色，或許可從本書的歷史分析窺見一二。