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Books > Arts & Architecture > History of art / art & design styles > Art styles not limited by date
In The Chinese Atlantic, Sean Metzger charts processes of global
circulation across and beyond the Atlantic, exploring how seascapes
generate new understandings of Chinese migration, financial
networks and artistic production. Moving across film, painting,
performance, and installation art, Metzger traces flows of money,
culture, and aesthetics to reveal the ways in which routes of
commerce stretching back to the Dutch Golden Age have molded and
continue to influence the social reproduction of Chineseness. With
a particular focus on the Caribbean, Metzger investigates the
expressive culture of Chinese migrants and the communities that
received these waves of people. He interrogates central issues in
the study of similar case studies from South Africa and England to
demonstrate how Chinese Atlantic seascapes frame globalization as
we experience it today. Frequently focusing on art that interacts
directly with the sites in which it is located, Metzger explores
how Chinese migrant laborers and entrepreneurs did the same to
shape—both physically and culturally—the new spaces in which
they found themselves. In this manner, Metzger encourages us to see
how artistic imagination and practice interact with migration to
produce a new way of framing the global.
Self-taught photographer Hugh Mangum was born in 1877 in Durham,
North Carolina, as its burgeoning tobacco economy put the
frontier-like boomtown on the map. As an itinerant portraitist
working primarily in North Carolina and Virginia during the rise of
Jim Crow, Mangum welcomed into his temporary studios a clientele
that was both racially and economically diverse. After his death in
1922, his glass plate negatives remained stored in his darkroom, a
tobacco barn, for fifty years. Slated for demolition in the 1970s,
the barn was saved at the last moment-and with it, this surprising
and unparalleled document of life at the turn of the twentieth
century, a turbulent time in the history of the American South.
Hugh Mangum's multiple-image, glass plate negatives reveal the
open-door policy of his studio to show us lives marked both by
notable affluence and hard work, all imbued with a strong sense of
individuality, self-creation, and often joy. Seen and experienced
in the present, the portraits hint at unexpected relationships and
histories and also confirm how historical photographs have the
power to subvert familiar narratives. Mangum's photographs are not
only images; they are objects that have survived a history of their
own and exist within the larger political and cultural history of
the American South, demonstrating the unpredictable alchemy that
often characterizes the best art-its ability over time to evolve
with and absorb life and meaning beyond the intentions or
expectations of the artist.
After Cezanne is a sequence of fifty-six poems exploring the life
and work of the post-impressionist painter Paul Cezanne.
Reimagining his friendships with Zola and Pissarro, his impact on
Matisse and Picasso, as well as his posthumous reputation,
Maitreyabandhu celebrates Cezanne's apples and card players in
poems at once tender, urgent and amused. The book includes 26
colour reproductions, a preface by Christopher Lloyd (Surveyor of
the Queen's Pictures, 1988-2005) and extensive textual notes. After
Cezanne is Maitreyabandhu's third collection.
Essential Terms of Chinese Painting provides a comprehensive
coverage of the broad spectrum of Chinese painting. Through an
array of some 900 terms, it exhibits the history of Chinese
culture, as interpreted by artists and portrayed in their work. In
masterful detail, it describes not only the artistic implements and
drawing styles, but also how these are influenced by changing
cultural considerations over time such as religion, philosophy,
intellectual ideas, and political developments. From the broad view
of how the change of dynasties affected painting trends in both
format and subject, to the smallest detail of the methods used to
paint different styles of tree branches, this is a full compendium
of the scope and depth of artwork from China. This volume features
twelve chapters which explore all major areas of art including
techniques, implements and materials, inscriptions and seals,
painting and mounting formats for all categories including
landscape, bird-and-flower, figure and auspicious paintings;provide
a helpful resource for readers to enjoy Chinese art with over 500
full-colour illustrations and pictures to further elaborate the
terms discussed; serve as an introduction to begin a true
understanding of traditional Chinese painting.
According to the contributors to this volume, the relationship of
Buddhism and the arts in Japan is less the rendering of Buddhist
philosophical ideas through artistic imagery than it is the
development of concepts and expressions in a virtually inseparable
unity. By challenging those who consider religion to be the primary
phenomenon and art the secondary arena for the apprehension of
religious meanings, these essays reveal the collapse of other
dichotomies as well. Touching on works produced at every social
level, they explore a fascinating set of connections within
Japanese culture and move to re-envision such usual distinctions as
religion and art, sacred and secular, Buddhism and Shinto, theory
and substance, elite and popular, and even audience and artist. The
essays range from visual and literary hagiographies to No drama, to
Sermon-Ballads, to a painting of the Nirvana of Vegetables. The
contributors to the volume are James H. Foard, Elizabeth ten
Grotenhuis, Frank Hoff, Laura S. Kaufman, William R. LaFleur, Susan
Matisoff, Barbara Ruch, Yoshiaki Shimizu, and Royall Tyler.
Originally published in 1992. The Princeton Legacy Library uses the
latest print-on-demand technology to again make available
previously out-of-print books from the distinguished backlist of
Princeton University Press. These editions preserve the original
texts of these important books while presenting them in durable
paperback and hardcover editions. The goal of the Princeton Legacy
Library is to vastly increase access to the rich scholarly heritage
found in the thousands of books published by Princeton University
Press since its founding in 1905.
In this richly illustrated volume Rosa Giorgi argues that because
much of Western art depicts key events, leaders, and practices in
the history of the Christian Church, knowledge of that history is
critical to an appreciation of many of our great masterpieces.
Giorgi begins by analyzing artistic representations of liturgical
objects, including altars, crosses, and censers, and follows with
an examination of the duties and vestments of the variety of
clerics, ranging from minor clerks to the pope. Both the rituals of
the monastic life and worshippers' devotional practices are well
documented in paintings depicting prayer, communal meals, funeral
rites, religious processions, and cult practices.
The author next turns to artworks that capture important episodes
from the Church's history, including crusades and pilgrimages, the
Inquisition and the Reformation, and power struggles between popes
and rulers. Giorgi ends with an analysis of the lives and portraits
of the notable leaders who made this fascinating history, from
Peter and Paul to Thomas More to Pope Paul VI.
Ink arts have flourished in China for more than two millennia. Once
primarily associated with elite culture, ink painting is now
undergoing a popular resurgence. Ink Worlds explores the modern
evolution of this art form, from scrolls and panel paintings to
photographic and video forms, and documents how Chinese ink arts
speak to present-day concerns while simultaneously referencing
deeply historical materials, themes, and techniques. Presenting the
work of some two dozen artists from China, Taiwan, Hong Kong, and
the United States in more than 100 full-color reproductions, the
book spans pioneering abstract work from the late 1960s through
twenty-first century technological innovations. Nine illustrated
essays build a compelling case for understanding the modern form as
a distinct genre, fusing art and science, history and technology,
painting and film into an accessible theory of contemporary ink
painting. The Yamazaki/Yang collection is widely recognized as one
of the most important private collections of contemporary Chinese
ink art. Ink Worlds is the first book to represent the collection
from the perspective of contemporary art history. From its
atmospheric mountainscapes to precise calligraphy, this book is a
revelation, bringing together the past, present, and future of an
enduring and adaptable art form.
Presenting a novel and needed theoretical model for interpreting
shipwrecks and other drowned fragments-the histories they tell, and
the futures they presage-as junctures of artefact and ecofact,
human remains and emergent ecologies, this book puts the
environmental humanities, and particularly multispecies studies, in
close conversation with literary studies, history, and aesthetic
theory. Earth's oceans hold the remains of as many as three million
shipwrecks, some thousands of years old. Instead of approaching
shipwrecks as either artefacts or "ecofacts," this book presents a
third frame for understanding, one inspired by the material
dynamism of sea-floor stuff. As they become encrusted by oceanic
matter-some of it living, some inanimate-anthropic fragments
participate in a distinctively submarine form of material relation.
That relation comprises a wide, and sometimes incalculable, array
of things, lives, times, and stories. Drawing from several
centuries of literary, philosophical, and scientific encounters
with encrustations-as well as from some of the innumerable
encrusted "art-forms" that inhabit the sea floor- this book serves
anyone in search of better ways to perceive, describe, and imagine
submarine matters.
With its concentration on geometrical forms, Islamic design offers
a rich source of patterns. Many are taken Moorish Spain and the
traditional sites of the Middle East and North Africa, but this
book also includes patterns which have been used in mosques in
Great Britain. This book provides a photographic exploration of the
magnificent designs and analysis of the designs using clear
drawings provides designers and artists with ideas and techniques
for their own work.
"Tian, " or Heaven, had multiple meanings in early China. It had
been used since the Western Zhou to indicate both the sky and the
highest god, and later came to be regarded as a force driving the
movement of the cosmos and as a home to deities and imaginary
animals. By the Han dynasty, which saw an outpouring of visual
materials depicting Heaven, the concept of Heaven encompassed an
immortal realm to which humans could ascend after death.
Using excavated materials, Lillian Tseng shows how Han artisans
transformed various notions of Heaven--as the mandate, the fantasy,
and the sky--into pictorial entities. The Han Heaven was not
indicated by what the artisans looked at, but rather was suggested
by what they looked "into." Artisans attained the visibility of
Heaven by appropriating and modifying related knowledge of
cosmology, mythology, astronomy. Thus the depiction of Heaven in
Han China reflected an interface of image and knowledge.
By examining Heaven as depicted in ritual buildings, on
household utensils, and in the embellishments of funerary settings,
Tseng maintains that visibility can hold up a mirror to visuality;
Heaven was culturally constructed and should be culturally
reconstructed.
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