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Books > Arts & Architecture > History of art / art & design styles > Art styles not limited by date
Along the Atlantic seaboard, from Scotland to Spain, are numerous rock carvings made four to five thousand years ago, whose interpretation poses a major challenge to the archaeologist. In the first full-length treatment of the subject, based largely on new fieldwork, Richard Bradley argues that these carvings should be interpreted as a series of symbolic messages that are shared between monuments, artefacts and natural places in the landscape. He discusses the cultural setting of the rock carvings and the ways in which they can be interpreted in relation to ancient land use, the creation of ritual monuments and the burial of the dead. Integrating this fascinating yet little-known material into the mainstream of prehistoric studies, Richard Bradley demonstrates that these carvings played a fundamental role in the organization of the prehistoric landscape.
The Davis Museum's groundbreaking curatorial project,
Art__Latin__America: Against the Survey, reconsiders conventional
frameworks for understanding, exhibiting, and discussing Latin
American and Latinx art. This illustrated volume, published with
the exhibition, features 70 essays by leading scholars and
specialists from across the Americas on an exceptional selection of
art works, many never before seen or published. The Davis
collection includes more than 550 works connected to the region
known as "Latin America"-as site of production, place of origin, or
point of reference. The exhibition features 150 highlights, in all
media, by over 100 artists from across the Americas, including the
US. The works are organized into eight compelling themes that
reveal particular strengths of the collection: Identity and
Territory, City and Country, War and Loss, Protest and Resistance,
Workers and Farmers, Models and Mothers, Saints and Rituals, and
Geometry and Gesture. Contrary to familiar museological conventions
of the chronological survey or geographic overview,
Art__Latin__America includes works from radically different times
and places, juxtaposing the familiar and the unknown, the expected
and unexpected, generating new visual conversations and challenging
viewers and readers to rethink preexisting canons and narratives.
In fact, the project proposes an expansive definition of the very
term "Latin American." The result is unlike any other book on the
topic.
Cultural creativity in China between 1796 and 1912 demonstrated
extraordinary resilience at a time of intense external and internal
warfare and socioeconomic turmoil. Innovation can be seen in
material culture (including print, painting, calligraphy, textiles,
fashion, jewellery, ceramics, lacquer, glass, arms and armour,
silver, and photography) during a century in which China’s art,
literature, crafts and technology faced unprecedented exposure to
global influences. 1796 – the official end of the reign of the
Qianlong emperor – is viewed as the close of the ‘high Qing’
and the start of a period of protracted crisis. In 1912, the last
emperor, Puyi, abdicated after the revolution of 1911, bringing to
an end some 2,000 years of dynastic rule and making way for the
republic. Until recently the 19th century in China has been often
defined – and dismissed – as an era of cultural decline. Built
on new research from a four-year project supported by the Arts and
Humanities Research Council and with chapter contributions by
international scholars from leading institutions, this beautifully
illustrated, 336-page book edited by Jessica Harrison-Hall and
Julia Lovell sets out a fresh understanding of this important era.
It presents a stunning array of objects and artworks to create a
detailed visual account of responses to war, technology,
urbanisation, political transformations and external influences.
This pack contains 200 extra large (8.25 inch) origami sheets
printed with indigo shibori designs. Shibori is a hand-dyeing
technique from Japan that typically involves folding, twisting or
bunching cloth to create a unique pattern--sort of like an ancient
form of tie-dye. These colorful origami papers were developed to
enhance the creative work of origami artists and paper crafters.
The pack contains 12 unique designs, and all of the papers are
printed with coordinating colors on the reverse to provide
aesthetically pleasing combinations in origami models that show
both the front and back. This origami paper pack includes: 200
sheets of high-quality origami paper 12 unique designs Vibrant and
bright colors Double-sided color 8.25 x 8.25 inch (21 cm) squares
Step-by-step instructions for 6 easy-to-fold origami projects
Larger origami sheets, like these, produce museum-sized models and
are recommended for more experienced folders.
Since the publication of Edward Said's groundbreaking work
Orientalism 35 years ago, numerous studies have explored the West's
fraught and enduring fascination with the so-called Orient.
Focusing their critical attention on the literary and pictorial
arts, these studies have, to date, largely neglected the world of
interior design. Oriental Interiors is the first book to fully
explore the formation and perception of eastern-inspired interiors
from an orientalist perspective. Orientalist spaces in the West
have taken numerous forms since the 18th century to the present
day, and the fifteen chapters in this collection reflect that
diversity, dealing with subjects as varied and engaging as harems,
Turkish baths on RMS Titanic, Parisian bachelor quarters, potted
palms, and contemporary yoga studios. It explores how furnishings,
surface treatments, ornament and music, for example, are deployed
to enhance the exoticism and pleasures of oriental spaces, looking
across a range of international locations. Organized into three
parts, each introduced by the editor, the essays are grouped by
theme to highlight critical paths into the intersections between
orientalist studies, spatial theory, design studies, visual culture
and gender studies, making this essential reading for students and
researchers alike.
Amaze your friends and family with these easy-to-fold paper
sculptures! This beginner-friendly kit contains everything you need
to learn the art of Japanese paper folding! It teaches you how to
create 30 of the most popular origami models (including ones with
"interactive" moving parts!)--from animals, puppets, boxes and
boats to the classic crane. The 30 elegant and easy-to-fold origami
models in this kit include: Cute animals like the Folksy Fox and
Lounging Frog--that your family will love! Action figures like the
Dragon Puppet and Coyote Storyteller--paper puppets that "talk"!
Paper airplanes like the High-tail-it Plane--give them a toss and
watch them soar! Origami boxes such as the Bird Basket and Handy
Candy Box--perfect for storing small trinkets and for presenting
small gifts! And many more! The kit includes 78 sheets of beautiful
origami paper in two sizes (6" and 4") plus a 64-page full-color
book with easy-to-follow instructions to guide you through the
projects.
This edited volume maps dialogues between science and technology
studies research on the arts and the emerging field of artistic
research. The main themes in the book are an advanced understanding
of discursivity and reasoning in arts-based research, the
methodological relevance of material practices and things, and
innovative ways of connecting, staging, and publishing research in
art and academia. This book touches on topics including studies of
artistic practices; reflexive practitioners at the boundaries
between the arts, science, and technology; non-propositional forms
of reasoning; unconventional (arts-based) research methods and
enhanced modes of presentation and publication.
Taiwan's historical and contemporary status as a nexus of Asian and
Western cultural influences provides a rich canvas of research for
the author who is uniquely trained in both Western critical and
Taiwanese theatrical practices. This highly original book furnishes
a creative interpretation of alternative, contemporary Taiwanese
Theater by applying Feminism, Interculturalism and other western
theories to three intercultural performances of four avant-garde
female directors from 1993-2004. Although several important
playwrights and directors have staged vital gender critiques of
national and international practices, almost no critic has remarked
upon them. The book's intersection of a gender critique, and, in
part, a postcolonial one, with Taiwanese stage practices is,
therefore, a unique and significant contribution. ..". This book is
original and forward-looking in its approach." - Sue-Ellen Case,
Professor and Chair, Critical Studies, Department of Theater, UCLA
With How to Draw Manga Furries, you'll follow the lead of five
professional Japanese artists as they show you how to bring dynamic
fantasy characters to life--on the page or on screen! Furries are
anthropomorphic characters--animals who have human traits (not to
be confused with kemonomimi, or humans with some animal features!).
They're widely popular in manga, anime and cosplay--from fan
favorites like Wolf's Rain and Lackadaisy to the newer Beastars and
BNA: Brand New Animal. The genre allows creators to be more
imaginative, freeing artists from traditional human personality
traits, actions and physical appearance. With the help of the
expert authors, you'll learn to draw: Anatomically correct furry
manga bodies, skulls, faces, appendages and tails with human
proportions Characters based on cats, dogs, wolves, foxes, goats,
birds, whales, sharks, crocodiles, dragons--and more! Furries seen
from their most powerful perspective--from muzzle to rump to
flipper tip Illustrations shown from many various angles with
different poses, positions and movements And so much more! With
this book as your guide, your imagination will run wild as you
create memorable heroes, wicked villains and compelling sidekicks
with your pen or on screen. *Recommended for artists 10 & up*
Knowing Native Arts brings Nancy Marie Mithlo's Native insider
perspective to understanding the significance of Indigenous arts in
national and global milieus. These musings, written from the
perspective of a senior academic and curator traversing a dynamic
and at turns fraught era of Native self-determination, are a
critical appraisal of a system that is often broken for Native
peoples seeking equity in the arts. Mithlo addresses crucial
issues, such as the professionalization of Native arts scholarship,
disparities in philanthropy and training, ethnic fraud, and the
receptive scope of Native arts in new global and digital realms.
This contribution to the field of fine arts broadens the scope of
discussions and offers insights that are often excluded from
contemporary appraisals.
In 1573, 712 bales of Chinese silk arrived in New Spain in the
cargos of two Manila galleons. The emergence and the subsequent
rapid development of this trans-Pacific silk trade reflected the
final formation of the global circulation network. The first
book-length English-language study focusing on the early modern
export of Chinese silk to New Spain from the sixteenth to the
seventeenth century, An Object of Seduction compares and contrasts
the two regions from perspectives of the sericulture development,
the widespread circulation of silk fashion, and the government
attempts at regulating the use of silk. Xiaolin Duan argues that
the increasing demand for silk on the worldwide market on the one
hand contributed to the parallel development of silk fashion and
sericulture in China and New Spain, and on the other hand created
conflicts on imperial regulations about foreign trade and
hierarchical systems. Incorporating evidence from local gazetteers,
correspondence, manual books, illustrated treatises, and
miscellanies, An Object of Seduction explores how the growing
desire for and production of raw silk and silk textiles empowered
individuals and societies to claim and redefine their positions in
changing time and space, thus breaking away from the traditional
state control.
This book marks the culmination of Giancarlo M.G. Scoditti's
renowned series of publications on the cultural production of the
northern Massim island of Kitawa, Papua New Guinea. It explores how
the Nowau 'creators of images' conceive of the way their artistic
compositions come about - sketching Kitawan cognitive philosophy
and aesthetic practice. Describing how for them images grow like
the loops of the Nautilus shell - one of nature's prominant
demonstrations of the logarithmic spiral and the golden section -
Scoditti's analysis of Kitawan cognitive and artistic principles
resonates with Levi-Strauss's work on myth and Kant's notion of the
mental schema, and makes a ground-breaking contribution to our
understanding of the 'oral mind'.
Chinese brush painting is an ancient art, steeped in history,
symbolism and ritual, and closely linked to Chinese calligraphy.
This beautifully illustrated book takes you on a journey through
the history, techniques and materials that will enable you to
produce stunning paintings of flowers, birds, animals and
landscapes. Topics covered include: he history of Chinese painting
materials and how to use them; advice on basic brush strokes,
colour mixing and brush loading; step-by-step guide to completing a
composition of a variety of subjects and finally, instruction on
mounting your work for display. Written by a respected artist and
teacher, it covers traditional techniques as well as more recent
innovative ideas, and reveals the beauty and mastery behind this
art.
Building a beautiful ornamented ‘white canoe’ was a way for the
Lau people of Malaita in Solomon Islands to honour the ghosts of
their ancestors in the days before they became Christians. This
book tells the story of the last of these canoes, built in 1968 by
one of the few clans still following their traditional religion, as
witnessed by the late anthropologist Pierre Maranda. Maranda
observed how the great artistic projects of Malaita were once
supported by elaborate ritual procedures and celebrated with
community festivals, all richly illustrated here by his
photographs. James Tuita was among the Lau boys who played with
Maranda’s son and, years later, he visited Quebec to help Maranda
with his research. Besides writing the Lau text for this book, he
contributes his own acutely felt insights into the radical changes
in Lau society during his lifetime and the importance of
maintaining its cultural traditions. Ben Burt, a curator at the
British Museum, knew Maranda through his own anthropological
research in Malaita and worked with James Tuita to ensure that
Maranda’s plans for his ethnographic research were realized after
his death. It is published, as Maranda intended, in Lau and English
languages, to return some of their cultural heritage to the people
of Lau, Malaita and Solomon Islands.
The rich variety of languages, religious traditions and schools of
art of the Indian subcontinent are brought together in this
exceptional library of Indian manuscripts. Religious and
philosophical texts from Buddhist, Hindu, Islamic, Jain, Sikh and
Zoroastrian schools of thought are all represented in illustrated
manuscripts. This library shows how these various faiths borrowed,
interacted and influenced one another in the subcontinent. From
palm leaf manuscripts of the South to pothi format manuals from the
Himalayas in Nepal, to the sophisticated and highly illustrated
manuscripts of the Imperial Moghul court, this catalogue takes the
reader on a visual journey through great epics, charged romances
and colourful cautionary tales. Highlights include an important and
lavishly illustrated palm-leaf manuscript by 'The Emperor of
Poets', Upendra Bhanja (c. 1640-1740 ce), and a rare Bihar-I Danesh
(The Springtime of Knowledge) by Shaikh 'Inayatallah Kamboh of
Delhi, from late 17th/early 18th century - the finest known copy of
the manuscript. An exceptional album of 18th-century Indian
paintings from the Liechtenstein Princely Collections offers
insight into the fascination for Indian courtly life among the
nobility of Europe. A number of exceptional painted scrolls are
also presented here. Scroll painting has a long history in India.
Story tellers would travel from village to village giving
performances of well-known epics and regional stories often
accompanied by musicians and with the visual aid of a painted
scroll. One particularly vibrant scroll, over 15 metres in length,
of the Madel Puranamu, was probably commissioned by a wealthy
member of the dhobi caste to celebrate his community's origins and
favour with Shiva. Among the many intruiging maps and manuals - on
art, astrology, omens, divination and auspicious symbols - is an
18th-century Nepalese sorcer's manual, which contains instructions
for protective and exorcistic Shaiva rituals, mantras and
sacrificial blood-offerings. Its binding includes feathers and
traces of blood and skin, which by tradition are fragments of the
'five beasts' - buffalo, chicken, dog, goat and cow.
First published in 1917, On Collecting Japanese-Prints is meant to
assist the amateur who has started a collection for the first time,
or the person who, while not actually a collector, is sufficiently
interested to read about the subject, yet finds the more exhaustive
and advanced works thereon somewhat beyond them. How to distinguish
forgeries and imitations; what prices should be given; what
examples can still be obtained, are some of the questions which the
writer has attempted to answer. The following chapters being
primarily written for the beginner, artists whose work is very
rare, or whose prints they are unlikely to come across in their
search for examples, are not mentioned, unless where necessary from
a historical or artistic point of view.
This book is a unique study which offers new perspectives on
contemporary Islamic iconography and the use of imageries in ritual
contexts. The representation of prophets and saints in Islam is
erroneously considered nonexistent by many scholars of Islam,
Muslims, and the general public. The issue is often dealt with
superficially without attention to its deep roots in piety and
religiosity. "Visualizing Belief and Piety in Iranian Shiism"
offers new understanding of Islamic iconography and Muslim
perspectives on the use of imageries in ritual contexts and
devotional life. Combining iconographic and ethnographic
approaches, Ingvild Flaskerud introduces and analyzes imageries
(tile-paintings, posters and wall-hangings), ritual contexts and
interviews with male and female local viewers to discuss the
representation, reception and function of imageries in contemporary
Iranian Shia environments. This book presents the argument that
images and decorative programmes have stimulating qualities to
mentally evoke the saints in the minds of devotees and inspire
their recollection, transforming emotions and stimulating cultic
behaviours. Visualization and seeing are significant to the
dissemination of religious knowledge, the understanding of
spiritual and ethical values, the promotion of personal piety, and
functions as modes of venerating God and the saints.
Social and behavioral scientists study religion or spirituality
in various ways and have defined and approached the subject from
different perspectives. In cultural anthropology, and archaeology
the understanding of what constitutes religion involves beliefs,
oral traditions, practices and rituals, as well as the related
material culture including artifacts, landscapes, structural
features and visual representations like rock art. Researchers work
to understand religious thoughts and actions that prompted their
creation distinct from those created for economic, political, or
social purposes. Rock art landscapes convey knowledge about sacred
and spiritual ecology from generation to generation.
Contributors to this global viewdetail how rock art can be
employed to address issues regarding past dynamic interplaysof
religions and spiritual elements. Studies from a number of
different cultural areas and time periods explore how rock
artengages the emotions, materializes thoughts and actions, and
reflects religiousorganization as it intersects with sociopolitical
cultural systems."
In A Grand Materialism in the New Art from China, Mary Bittner
Wiseman shows that material matters in the work of Chinese artists,
where the goal is to call attention to its subjects through the
directness and immediacy of its material, like dust from 9/11, 1001
Chinese citizens, paintings made with gunpowder, written words, or
the specificity of its sites, like the Three Gorges Dam. Artists
are working below the level of language where matter and gesture,
texture and touch, instinct and intuition live. Not reduced to the
words applied to them, art's subjects appear in their concrete
particularity, embedded in the stories of their materials or their
sites. Wiseman argues that it is global in being able to be
understood by all, as are the materials in the new art and the
stories that accompany them: here are items from Song Dong's
mother's home in the Cultural Revolution, here is dust from
6/11.Finally, it satisfies Arthur Danto's characterization of art
asany representation that shows something new about its subject or
puts it in a new light, by way of a rhetorical figure that the
viewer interprets. Danto has given criteria for a given work's
making the case for itself hat it is art. The material art from
China is the paradigm for an art that is global and contemporary.
What is the significance of the visual representation of
revolution? How is history articulated through public images? How
can these images communicate new histories of struggle? Imprints of
Revolution highlights how revolutions and revolutionary moments are
historically constructed and locally contextualized through the
visual. It explores a range of spatial and temporal formations to
illustrate how movements are articulated, reconstituted, and
communicated. The collective work illustrates how the visual serves
as both a mobilizing and demobilizing force in the wake of
globalization. Radical performances, cultural artefacts,
architectural and fashion design as well as social and print media
are examples of the visual mediums analysed as alternative archives
that propose new understandings of revolution. The volume
illustrates how revolution remains significant in visually
communicating and articulating social change with the ability to
transform our contemporary understanding of local, national, and
transnational spaces and processes.
While much has been achieved in understanding and managing weather
effects and erosion phenomena affecting ancient imagery within the
relatively protected environments of caves and rock-shelters, the
same cannot be said of rock-art panels situated in the open-air.
Despite the fact that the number of known sites has risen
dramatically in recent decades there are few examples in which the
weathering and erosion dynamics are under investigation with a view
to developing proposals to mitigate the impact of natural and
cultural processes. Most of the work being done in different parts
of the world appears to be ad-hoc, with minimal communication on
such matters between teams and with the wider archaeological
community. This richly illustrated book evaluates rock-art
conservation in an holistic way, bringing together researchers from
across the world to share experiences of work in progress or
recently completed. The chapters focus on a series of key themes:
documentation projects and resource assessments; the identification
and impact assessment of weathering/erosion processes at work in
open-air rock-art sites; the practicalities of potential or
implemented conservation interventions; experimentation and
monitoring programs; and general management issues connected with
public presentation and the demands of ongoing research
investigations. Consideration is given to the conservation of
open-air rock-art imagery from many periods and cultural traditions
across the Old and New Worlds. This timely volume will be of
interest to conservators, managers, and researchers dealing with
aesthetic and ethical issues as well as technical and practical
matters regarding the conservation of open-air rock-art sites.
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