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This adult colouring book featuring stunning Asian designs and high-quality paper and is the perfect stress-reliever for fans of Asian art motifs. Artistry is in the details, and A Touch of Asia Coloring Book presents over 50 colouring patterns drawn from the exquisite traditional porcelains, prints, manuscripts, textiles, mosaics and many other artworks of Asia. Each design gives you a taste of the rich culture, history and variety found in this part of the world. Apply your pencils and fine markers to drawings based on: Chinese porcelain designs; Islamic tiles; Persian rugs and other Asian textiles; Japanese prints... and more! This is a colouring book for both relaxation and exploration. Choose a simpler design for a more restful mood or a detailed pattern when you want more of a challenge. Each single-sided page can be torn out for sharing with family and friends or for framing your finished masterpiece.
Eaglemania celebrates Boston College's mascot, a monumental Japanese bronze eagle, following its recent conservation and return to view. Donated in the 1950s by the estate of diplomat and collector Larz Anderson (1866-1937) and his wife, Isabel (1876-1948), the eagle recently received in-depth restoration that has revealed its fine detail, carefully modeled form, and excellent material construction. Eaglemania brings the history of this stunning object to life. It features new research on topics that contextualize the Boston College eagle, assembling articles that discuss various aspects of its Edo- and Meiji-period origins. These include the Andersons' acquisition of the eagle; the Boston College eagle seen in comparison with other exceptional Meiji eagle figures; the meanings of eagle depictions in the Edo and Meiji periods; and Japan's rise as a destination for American collectors, particularly of sculpture, in the Meiji period. Through its focus on eagle imagery, this study illuminates cross-cultural dynamics resulting from American collectors' fascination with traditional and contemporary Japanese arts and Japanese artists' adaptation to this market.
A dazzling exploration of the pictorial traditions inspired by Korea's legendary Diamond Mountains The Diamond Mountains, known in Korea as Mount Geumgang, are perhaps the most famous and emotionally resonant site on the Korean Peninsula, a breathtaking range of rocky peaks, waterfalls, lagoons, and manmade pavilions. For centuries the range has inspired cultural pride and a vast outpouring of creative expression. Yet since the partition of Korea in the 1940s, situating them in the North, the Diamond Mountains have remained largely inaccessible to visitors, shrouding the site in legend, loss, and longing. This book examines the visual representation of this remarkable landscape from the 18th century to the present day. It explores how Jeong Seon (1676-1759) revolutionized Korean painting with his Diamond Mountains landscapes, replacing conventional generic imagery with specific detail and indelibly influencing generations of artists in his wake. It also discusses the potency of these mountains as an emblem of Korean cultural identity, as reflected in literature and in exquisitely detailed album leaves, handscrolls, hanging scrolls, and screens. This magnificent volume is the first in English to survey this rich artistic tradition and bring these distant mountains into view.
A Guardian Book of the Year Maggie Nelson is one of the most electrifying writers at work in America today, among the sharpest and most supple thinkers of her generation - Olivia Laing Bluets winds its way through depression, divinity, alcohol, and desire, visiting along the way with famous blue figures, including Joni Mitchell, Billie Holiday, Yves Klein, Leonard Cohen and Andy Warhol. While its narrator sets out to construct a sort of `pillow book' about her lifelong obsession with the colour blue, she ends up facing down both the painful end of an affair and the grievous injury of a dear friend. The combination produces a raw, cerebral work devoted to the inextricability of pleasure and pain, and to the question of what role, if any, aesthetic beauty can play in times of great heartache or grief. Much like Roland Barthes's A Lover's Discourse, Bluets has passed between lovers in the ecstasy of new love, and been pressed into the hands of the heartbroken. Visceral, learned, and acutely lucid, Bluets is a slim feat of literary innovation and grace, never before published in the UK.
Ahh, the impact of Indian art and culture on a Dutch artist in the late 1650s! Pairing Rembrandt's twenty-two surviving drawings of Shah Jahan, Jahangir, Dara Shikoh, and other Mughal courtiers with Mughal paintings of similar compositions, the book critiques the prevailing notion that Rembrandt "brought life" to the static Mughal art. With essays written by both scholars of both Dutch and Indian art, this volume demonstrates that Rembrandt's contact with Mughal painting inspired him to draw in an entirely new, refined style on Asian paper-an approach that was shaped by the Dutch trade in Asia and prompted by the curiosity of a foreign culture. Seen in this light, Rembrandt's engagement with India enriches our understanding of collecting in seventeenth-century Amsterdam, the Dutch global economy, and Rembrandt's artistic self-fashioning. A close examination of the Mughal imperial workshop provides new insights into how Indian paintings came to Europe as well as how Dutch prints were incorporated into Mughal compositions.
Divine Bodies is a thought-provoking Asian art history book that explores intriguing questions like these raised by the sacred art traditions of Asia. Approximately 45 artworks from the Asian Art Museum's renowned collection show how artists have envisioned the divine, imbuing it with forms that are meant to reflect supernatural qualities. In addition, 20 contemporary photographs suggest how some artists today deal with questions about the body and its manifold expressions. The book explores how ideal beauty is interpreted in different Asian cultures, how that beauty can be transformed by altering the forms of the body, how deities maintain their identity despite changes to their form, and how divine beings are represented after their death. By viewing these deity-images, readers whether religious or not can perceive the messages that artists wish to convey. But Divine Bodies invites readers to do more than just recognize and relate to the meanings inscribed on divine bodies: it also shows how divine imagery shapes and reflects the daily experiences of ordinary people. The novel topic of this book, its diverse and extraordinary artworks, and the unique perspectives of its authors make Divine Bodies a fine art book that will be talked about and thought about for years to come.
Since the last century, the relationship between vanguard and self-taught artists has been defined by contradiction. The established art world has been quick to make clear distinctions between trained and untrained artists, yet at the same time it has been fascinated by outliers whom it draws selectively and intermittently into its orbits. For a new exhibition launching at the National Gallery of Art, curator Lynne Cooke explores shifting conceptualizations of the American outlier across the twentieth century, drawing on the inherent sociality of the exhibition in her installation of these works. This companion catalog, Outliers and American Vanguard Art, offers a fantastic opportunity to consider works by schooled and self-taught creators in relation to each other and defined by historical circumstance. The art works in Outliers and American Vanguard Art come from three distinct periods when the intersections between mainstream and outlier artists were most dynamic and productive, ushering in exhibitions of art based on various degrees of co-existence, inclusion, and assimilation. Works by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican are set in conversation with a range of works by such self-taught artists as Horace Pippin, Janet Sobel, and Henry Darger. Cooke also examines a recent increase of radically expressive work that challenges what it means to be an outlier today. She reveals how these distinctions have been freighted with a particularly American point of view as she investigates our assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. Outliers and American Vanguard Art is the most comprehensive show ever to examine outliers in dialogue with their established peers. It is sure to inspire vigorous conversation about how artists and the work they make are represented.
Eight Pioneers of Malaysian Art is the result of monumental research and documentation by art historian, Dr. Tan Chee Khuan. Handsomely-produced and containing more than 200 depictions of the eight artists work, this book promises to become the definitive tome on the pioneer artists of Malaysia. Further to the beautiful paintings and artwork, the book contains exhaustive essays, notes, biodata and more, ensuring the work will prove illuminating to anyone with an interest in the work, lives and struggles of Malaysia s most important artists. Adding to the comprehensive scope of the book, there are insightful contributions from Ooi Kok Chuen, Susie Koay, Dr. Askandar Unglehrt, Lee Joo For and Brother Joseph McNally, as well as statements by the artists themselves whenever possible."
Over the centuries, the elegance of Asian art has been a source of fascination and inspiration for artists and art lovers worldwide. This beautifully illustrated book, returning after some time out of print explores the diversity of art and artefacts from around Asia, detailing the subjects, the materials used in their making, and the lives of the artists and artisans who created them.
Throughout the history of the Western world, countless attempts have been made to define beauty in art and life, especially with regard to women's bodies and faces. "Facing Beauty" examines concepts of female beauty in terms of the ideal and the real, investigating paradigms of beauty as represented in art and literature and how beauty has been enhanced by cosmetics and hairstyles.
This thought-provoking book discusses the shifting perceptions of female beauty, concentrating on the period from about 1540 to 1940. It begins with the Renaissance, when a renewed emphasis on the individual was reflected in the celebration of beauty in the portraits of the day. The fluid, sensual lines of the Baroque period initiated a shift toward a more "natural" look, giving way in the 18th century to a more stylized and artificial face, a mask of ideal beauty. By the late 19th century, commercial beauty preparations had become more readily available, leading to new technological developments within the beauty industry in the early 20th century. Beauty salons and the wider availability of cosmetics revolutionized the way women saw themselves.
Ravishing images of some of the most beautiful women in history, both real and ideal, accompanied by illustrations from costume books, fashion plates, advertisements, caricatures, and cosmetics, bring the evolving story of beauty to life.
The two-volume Companion to Islamic Art and Architecture bridges the gap between monograph and survey text by providing a new level of access and interpretation to Islamic art. The more than 50 newly commissioned essays revisit canonical topics, and include original approaches and scholarship on neglected aspects of the field. * This two-volume Companion showcases more than 50 specially commissioned essays and an introduction that survey Islamic art and architecture in all its traditional grandeur * Essays are organized according to a new chronological-geographical paradigm that remaps the unprecedented expansion of the field and reflects the nuances of major artistic and political developments during the 1400-year span * The Companion represents recent developments in the field, and encourages future horizons by commissioning innovative essays that provide fresh perspectives on canonical subjects, such as early Islamic art, sacred spaces, palaces, urbanism, ornament, arts of the book, and the portable arts while introducing others that have been previously neglected, including unexplored geographies and periods, transregional connectivities, talismans and magic, consumption and networks of portability, museums and collecting, and contemporary art worlds; the essays entail strong comparative and historiographic dimensions * The volumes are accompanied by a map, and each subsection is preceded by a brief outline of the main cultural and historical developments during the period in question * The volumes include periods and regions typically excluded from survey books including modern and contemporary art-architecture; China, Indonesia, Sub-Saharan Africa, Sicily, the New World (Americas)
The Arts of China after 1620 concludes a major three-volume survey that examines China's huge wealth of art, architecture and artefacts from prehistoric times to the present. Beginning with discussions of 'fine' art and painting and progressing to analysis of carving and sculpture, ceramics, glassware and textiles, the authors demonstrate how, in the age of the Emperors Kangxi, Yongzheng and Qianlong, the 'decorative' arts rose to a prominence quite unlike the western experience. Avoiding misrepresentative categorization, they single out period styles, as well as identifying repeated phases of archaism and Buddhist art, and discuss characteristic groups of jade, ivory, ceramics, glassware and textiles. They consider the importance of the imperial workshops and their role in developing craftsmen's skills and encouraging the cross-over of techniques from different disciplines and they present the compelling influence of Emperor Qianlong's aesthetic innovations. buildings contrasts with the restrained subtlety of domestic architecture and garden design where magnificent rocks were the principal feature, just as in landscape painting. The survey concludes by examining the development of East/West trade and the effects of commercialization on Chinese arts and crafts. This handsome, well-illustrated book provides a scholarly and illuminating resource for all students of the arts of China.
This lavishly illustrated book collects papers delivered at the third Gingko conference: "The Mercantile Effect: On art and exchange in the Islamicate world during 17th ?18th centuries." Held in Berlin, this meeting brought together a group of established and early-career scholars to discuss how the movement of Armenian, Indian, Chinese, Persian, Turkish, and European merchants and their trade goods spread new ideas and new technologies across Western Asia in the early modern era. Through the newly-established Dutch, English, and French East India companies, as well as much older mercantile networks, prestigious exotic commodities--silk, ivory, books, glazed porcelains--were transported east and west. The collected essays in this volume introduce a fascinating array of not only trade objects but also customs and traditions that bring this period of intense cultural interplay to life.
Jade is often thought of as something ancient and gathering dust in museums, but in China it is a vibrant part of modern life. More jade has been carved this century than in the rest of human history combined. For Chinese people, jade represents everything that is pure and noble, and Andrew Shaw gave up his life in England to embrace it, and became the only foreign master jade carver in China. Jade Life tells his story and also the story of jade itself. His description of the jade industry today provides insights into the hearts of Chinese people and also into how they have managed to turn a backwater state into a world superpower in less than three decades.
This splendidly illustrated publication features over 90 important paintings from the predominantly Hindu Rajput tradition of Indian painting, and are highlights from the Kronos Collection, one of the finest holdings of Indian art. These remarkable works-most of them published and illustrated here for the first time-were painted between the 16th and 18th centuries for the Indian royal courts in Rajastan and the Punjab Hills. Many of the paintings are characterized by their brilliant colors and vivid depictions of scenes from Hindu epics, mystical legends, and courtly life. Along with an informative entry for every work and a personal essay by expert and collector Steven M. Kossak, the book contains an extensive essay by Terence McInerney that outlines the history of Indian painting, with a special emphasis on the Rajput courts, and provides an overview of the subject with fresh insights and interpretations.
Aztec -- the name evokes a fabled New World empire, a towering golden culture with bloody human sacrifices and terrifying idols. This world is recreated in Aztec Art, a magnificent volume that readers will treasure.
This is the first comprehensive book on Aztec art: eleven chapters illustrated with seventy-five superb color plates and hundreds of photographs, supplemented by maps and diagrams. Temple architecture, majestic stone sculpture carved without metal tools, featherwork and turquoise mosaic, painted books, and sculptures in terra-cotta and rare stones -- all are here.
Pasztory has placed these major works of Pre-Columbian art in a historical context, relating them to the reigns of individual rulers, events in Aztec history, and the needs of different social groups from the elite to the farmer. She focuses on the little-known aspects of the aesthetics, poetry, and humanity of the Aztecs.
This timely new book surveys the artistic traditions of indigenous North America, from those of ancient cultures such as Adena, Hopewell, Mississippian, and Anasazi to the work of modern artists like Earnest Spybuck, Fred Kabotie, Dick West, T. C. Cannon, and Gerald McMaster. The text is organized geographically and draws upon the testimonies of oral tradition, Native American history, and the latest research in North American archaeology. Recent art historical scholarship has helped restore, to a large degree, some understanding of the identities and cultural roles of Native American artists and the social contexts of the objects they created. Native American art is often discussed simply as a cultural production rather than the work of individual artists who made objects to fufill social and cultural purposes; this book focuses as much as possible on the artists themselves, their cultural identities, and the objects they made even when the names of the individual artists remain unrecoverable. But this is not a book of artists' biographies. It seeks to inform a general readership about the history of Native American art with a lively narrative full of historical incident and illustrated with provocative and superlative works of art. It explores the tension between artistic continuities spanning thousands of years and the startlingly fresh innovations that resulted from specific historical circumstances. The narrative weaves together so-called "traditional" arts, "tourist" arts, and Native American art of today by taking the point of view of their particular and local histories the artists, their communities, and audiences. Among the many cultures included are: Arapaho, Athapascan, Cherokee, Cheyenne, Chumash, Hopi, Hupa/Karok, Inuit, Iroquois, Kwakiutl, Lakota, Miwok, Navajo, Ojibwa, Pomo, Tlingit, Tsimshian, Uypik, and Zuni. "
"Asian Art "is the first comprehensive anthology of important
primary documents and key contemporary scholarship on Asian art
Features introductory material for each extract, an easy-to-navigate chronological structure, and has been extensively tested by the editors and their colleagues in classrooms.
In April 1966, thousands of artists, musicians, performers and writers from across Africa and its diaspora gathered in the Senegalese capital, Dakar, to take part in the First World Festival of Negro Arts (Premier Festival Mondial des arts negres). The international forum provided by the Dakar Festival showcased a wide array of arts and was attended by such celebrated luminaries as Duke Ellington, Josephine Baker, Aime Cesaire, Andre Malraux and Wole Soyinka. Described by Senegalese President Leopold Sedar Senghor, as `the elaboration of a new humanism which this time will include all of humanity on the whole of our planet earth', the festival constituted a highly symbolic moment in the era of decolonization and the push for civil rights for black people in the United States. In essence, the festival sought to perform an emerging Pan-African culture, that is, to give concrete cultural expression to the ties that would bind the newly liberated African `homeland' to black people in the diaspora. This volume is the first sustained attempt to provide not only an overview of the festival itself but also of its multiple legacies, which will help us better to understand the `festivalization' of Africa that has occurred in recent decades with most African countries now hosting a number of festivals as part of a national tourism and cultural development strategy.
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