This classic compendium of ancient Indian artifacts from the entire southeastern United States remains an indispensable reference source for professionals and enthusiasts alike.

From utilitarian arrowheads to beautiful stone effigy pipes to ornately-carved shell disks, the photographs and drawings in "Sun Circles and Human Hands " present the archaeological record of the art and native crafts of the prehistoric southeastern Indians. Painstakingly compiled in the 1950s by two sisters who traveled the eastern United States interviewing archaeologists and collectors and visiting the major repositories, "Sun Circles and Human Hands" is remarkable for its breadth of illustration of Indian-made artifacts and its comprehensive documentation. Although research over the last 50 years has disproven many of the early theories reported in the text--which were not the editors' theories but those of the archaeologists of the day--the excellent illustrations of objects no longer available for examination have more than validated the lasting worth of this popular book.

Broadly acclaimed when it first appeared, this new printing has the added value of Knight's foreword, which places the work in its proper context. Useful to museums, state and national parks, school libraries, gift stores, archaeological agencies, and private collections, "Sun Circles and Human Hands" is a rich pictorial survey accessible to anyone interested in early American Indian culture.

Ancient petroglyphs and paintings on rocky cliffs and cave walls preserve the symbols and ideas of American Indian cultures. From scenes of human-to-animal transformations found in petroglyphs dating back thousands of years to contact-era depictions of eagle trapping, rock art provides a look at the history of the Black Hills country over the last ten thousand years. Storied Stone links rock art of the Black Hills and Cave Hills of South Dakota and Wyoming to the rich oral traditions, religious beliefs, and sacred places of the Lakota, Cheyenne, Kiowa, Mandan, and Hidatsa Indians who once lived there.Drawing on more than twenty years of fieldwork, Linea Sundstrom identifies the chronological depth, stylistic variations, and multiple interpretations of petroglyphs and cliff paintings in this richly illustrated volume. Sundstrom describes the age, cultural affiliation, and meaning of a wide variety of petroglyphs and rock paintings--from warriors' combat scenes and images related to girls' puberty rites to depictions of creation myths and sacred visions.

Bringing the rich Japanese Shinto artistic tradition to life, this handsome volume explores the significance of calligraphy, painting, sculpture, and the decorative arts within traditional kami veneration ceremonies A central feature of Japanese culture for many centuries, the veneration of kami deities-a practice often referred to as Shinto-has been a driving force behind a broad swath of visual art. Focusing on the Heian period (795-1185) through the Edo period (1615-1868), this generously illustrated volume brings the rich Shinto artistic tradition to life through works of calligraphy, painting, sculpture, and the decorative arts. Thematic essays authored by both American and Japanese scholars explore different dimensions of kami veneration and examine the significance of these objects-many of which have never been seen outside of Japan-in Shinto ceremonies.

Professor Sullivan is a leading authority on the art of China, and has published a number of standard works on both traditional and modern Chinese art. These two volumes bring together for the first time his papers on the subject, and include a number of important studies on the related art of South-East Asia. The first volume concentrates on traditional Chinese art. In its long and relatively uninterrupted development over a period of two thousand years, Chinese art can only be compared with the art of ancient Egypt. The author gives a resume of the stages of this development in his first paper, and isolates certain recurrent themes and attitudes in the four studies that follow. Other papers deal with screen and scroll painting in the early period, and with the excavation of a T'ang emperor's tomb. The period of the Ming and Ch'ing emperors is also covered, leading up to the first contacts with Western art in the seventeenth and eighteenth centuries, and the work of European artists in China. The volume concludes with a number of Professor Sullivan's reviews of works by other scholars on Chinese art, and of exhibitions, and an appreciation of the work of Arthur Waley. There is a new preface and index, and the author has supplied additional notes to the original articles which draw attention to subsequent research. Contents: Preface The Heritage of Chinese Art Some Notes on the Social History of Chinese Art The Magic Mountain Fantastics and Eccentrics in Chinese Painting Pictorial Art and the Attitude toward Nature in Ancient China Notes on Early Chinese Screen Painting On Painting the Yuen-t'ai-shan A Further Note on the Admonitions Scroll A Forgotten T'ang Master of Landscape Painting The Excavation of the Royal Tomb of Wang Chien The Night Market at Yang-ch'eng The Ch'ing Scholar-Painters and their World The Chinese Art of Water Printing, Shui-yin Art and Politics in Seventeenth-century China Some Possible Sources of European Influence on Late Ming and Early Ch'ing Painting The Chinese Response to Western Art Sandrart on Chinese Painting Chinnery the Portrait Painter The Barlow Collection of Chinese Bronzes, Jades and Ceramics Reviews of Books and Exhibitions Reaching Out Additional Notes Index.

Artist, teacher, and Red Progressive, Angel De Cora (1869-1919) painted Fire Light to capture warm memories of her Nebraska Winnebago childhood. In this biography, Linda M. Waggoner draws on that glowing image to illuminate De Cora's life and artistry, which until now have been largely overlooked by scholars.One of the first American Indian artists to be accepted within the mainstream art world, De Cora left her childhood home on the Winnebago reservation to find success in the urban Northeast at the turn of the twentieth century. Despite scant documentary sources that elucidate De Cora's private life, Waggoner has rendered a complete picture of the woman known in her time as the first "real Indian artist." She depicts De Cora as a multifaceted individual who as a young girl took pride in her traditions, forged a bond with the land that would sustain her over great distances, and learned the role of cultural broker from her mother's MEtis family. After studying with famed illustrator Howard Pyle at his first Brandywine summer school, De Cora eventually succeeded in establishing the first "Native Indian" art department at Carlisle Indian School. A founding member of the Society of American Indians, she made a significant impact on the American Arts and Crafts movement by promoting indigenous arts throughout her career. Waggoner brings her broad knowledge of Winnebago culture and history to this gracefully written book, which features more than forty illustrations. Fire Light shows us both a consummate artist and a fully realized woman, who learned how to traverse the borders of Red identity in a white man's world.

Images of crosses, the Virgin Mary, and Christ, among other devotional objects, pervaded nearly every aspect of public and private life in early modern Spain, but they were also a point of contention between Christian and Muslim cultures. Writers of narrative fiction, theatre, and poetry were attuned to these debates, and religious imagery played an important role in how early modern writers chose to portray relations between Christians and Muslims. Drawing on a wide variety of literary genres as well as other textual and visual sources - including historical chronicles, travel memoirs, captives' testimonies, and paintings - Catherine Infante traces the references to religious visual culture and the responses they incited in cross-confessional negotiations. She reveals some of the anxieties about what it meant to belong to different ethnic or religious communities and how these communities interacted with each other within the fluid boundaries of the Mediterranean world. Focusing on the religious image as a point of contact between individuals of diverse beliefs and practices, The Arts of Encounter presents an original and necessary perspective on how Christian-Muslim relations were perceived and conveyed in print.