The development of complex cultural behaviour in our own species is perhaps the most significant research issue in modern archaeology. Until recently, it was believed that our capacity for language and art only developed after some of our ancestors reached Europe around 40,000 years ago. Archaeological discoveries in Africa now show that modern humans were practicing symbolic behaviours prior to their dispersal from that continent, and more recent discoveries in Indonesia and Australia are once again challenging ideas about human cultural development. Despite these significant discoveries and exciting potentials, there is a curious absence of published information about Asia-Pacific region, and consequently, global narratives of our most celebrated cognitive accomplishment - art - has consistently underrepresented the contribution of Southeast Asia, Australia, and the Pacific Islands. This volume provides the first outline of what this region has to offer to the world of art in archaeology. Readers undertaking tertiary archaeology courses interested in the art of the Asia-Pacific region or human behavioural evolution, along with anyone who is fascinated by the development of our modern ability to decorate ourselves and our world, should find this book a good addition to their library.

Indian art, increasingly popular in the west, cannot be fully appreciated without some knowledge of the religious and philosophical background. This book, first published in 1985, covers all aspects of Hindu iconography, and explains that its roots lie far back in the style of prehistoric art. The dictionary demonstrates the rich profusion of cults, divinities, symbols, sects and philosophical views encompassed by the Hindu religious tradition.

Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species' existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art's regional variability, its antiquity, and how it is meaningful to people in the recent past and today - including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting-edge methods of rock art analysis for the student and professional researcher alike.

Wide-ranging and timely, The Practice of Public Art brings together practicing artists, curators, activists, art writers, administrators, city planners, and educators from the United Kingdom and United States to offer differing perspectives on the many facets of the public art process. The Practice of Public Art examines the continual evolution of public art, from monuments and memorials to socially engaged public art practice. Topics include constructing new models for developing and commissioning public art works, understanding the challenges of public art vs. public design, and unraveling the relationships between public artists and the communities they serve. The Practice of Public Art offers a diverse perspective on the complex nature of public art in the twenty-first century.

In the six essays of this book, Ksana Blank examines affinities among works of nineteenth and twentieth-century Russian literature and their connections to the visual arts and music. Blank demonstrates that the borders of authorial creativity are not stable and absolute, that talented artists often transcend the classifications and paradigms established by critics. Featured in the volume are works by Alexander Pushkin, Fyodor Dostoevsky, Leo Tolstoy, Vladimir Nabokov, Daniil Kharms, Kazimir Malevich, Mstislav Dobuzhinsky, and Dmitri Shostakovich.

The delightful arts of American Indian tribes in the Southwest are occasionally made in miniature by especially talented artists who dare to work in tiny scale. This book presents, for the first time, a wide array of these miniatures of al the major craft styles of the region. Shown through hundreds of all color photographs, the miniature arts are arranged in sections devoted to beadwork, rattles, sandpaintings, weavings, basketry, Kachinas, paintings, and pottery. The weavings section includes geometric and pictorial styles from each of the regional areas, while the basketry and pottery sections have all the major style areas represented. Wherever possible, the artists and their regions are identified. This collection of truly appealing tiny art works will be enjoyed for many years to come.

Through meticulously researched case studies, this book explores the materiality of terracotta sculpture in early modern Europe. Chapters present a broad geographical perspective showcasing examples of modelling, firing, painting, and gilding of clay in Portugal, Spain, Italy, Germany, and the Netherlands. The volume considers known artworks by celebrated artists, such as Luca della Robbia, Andrea del Verrocchio, Filipe Hodart, or Hans Reichle, in parallel with several lesser-studied terracotta sculptures and tin-glazed earthenware made by anonymous artisans. This book challenges arbitrary distinctions into the fine art and the applied arts, that obscured the image of artistic production in the early modern world. The centrality of clay in the creative processes of artists working with two- and three-dimensional artefacts comes to the fore. The role of terracotta figures in religious practices, as well as processes of material substitutions or mimesis, confirm the medium’s significance for European visual and material culture in general. This book will be of interest to scholars working in art history, Renaissance studies, and material culture.

The Thiri Rama - or the Great Rama - was written for court performance and is the only known illustrated version of the Ramayana story in Myanmar. Based on palm-leaf manuscripts and scenes carved on over 300 sandstone plaques at a mid-nineteenth-century Buddhist pagoda west of Mandalay in Myanmar, this book presents an original translation of the Thiri Rama rendered in prose. The volume also includes essays on the history and tradition of the Ramayana in Myanmar as well as the cultural context in which the play was performed. It contains many helpful resources, incorporating a glossary and a list of characters and their corresponding personae in Valmiki's Ramayana. With over 250 fascinating visuals and core text contributions by distinguished Burmese scholars, U Thaw Kaung, Tin Maung Kyi, and U Aung Thwin, this book will greatly interest scholars and researchers of South and Southeast Asian culture, literary forms, epics, art and art history, theatre and performance studies, religion, especially those concerned with Hinduism, as well as folklorists.

The artist-makers represented here come from every region of the United States, making this book a compilation of many native traditions as well as modern styles. Exciting background ideas are expressed in the details of these works, so their study and appreciation is quite fascinating. Over 50 living jewelry masters of Native American heritage are featured in this lavish new book. Their dynamic work includes many pieces that were awarded at recent juried shows. Tufa casting, stone cutting, engraving, metalsmithing, and other technical skills that are highly refined and personalized are evident, demonstrating the work of true Masters in this evolving field. See and be inspired by new designs in bead necklaces, silver bracelets, pendants, pins, earrings, belts, and rings, as well as sculpture that ranks as wearable art. Marvel at the new pieces by top masters living today.

Portraits are everywhere. One finds them not only in museums and galleries, but also in newspapers and magazines, in the homes of people and in the boardrooms of companies, on stamps and coins, on millions of cell phones and computers. Despite its huge popularity, however, portraiture hasn't received much philosophical attention. While there are countless art historical studies of portraiture, contemporary philosophy has largely remained silent on the subject. This book aims to address that lacuna. It brings together philosophers (and philosophically minded historians) with different areas of expertise to discuss this enduring and continuously fascinating genre. The chapters in this collection are ranged under five broad themes. Part I examines the general nature of portraiture and what makes it distinctive as a genre. Part II looks at some of the subgenres of portraiture, such as double portraiture, and at some special cases, such as sport card portraits and portraits of people not present. How emotions are expressed and evoked by portraits is the central focus of Part III, while Part IV explores the relation between portraiture, fiction, and depiction more generally. Finally, in Part V, some of the ethical issues surrounding portraiture are addressed. The book closes with an epilogue about portraits of philosophers. Portraits and Philosophy tangles with deep questions about the nature and effects of portraiture in ways that will substantially advance the scholarly discussion of the genre. It will be of interest to scholars and students working in philosophy of art, history of art, and the visual arts.

This vibrant reference guide profiles 50 major artists alongside their representative works. The entries are presented in an eye-catching format that includes brief biographies and critical analyses, alongside illustrations of the artists' most famous works. Featuring 200 full colour illustrations this book also includes a glossary of important terms, information about relevant movements and techniques, and a timeline that puts the artists in context. Arranged chronologically, the selection of artists includes every major artistic movement and development since the Gothic period, giving readers a clear understanding of the evolution of the visual arts. Perfect for casual reading or easy reference, this accessible overview is a fun and practical art history lesson that everyone can enjoy.

Superb Yokai images from the world's leading museums and private collections! Japan's vast pantheon of supernatural creatures includes demons (yokai), monsters, ogres (oni), ghosts (yurei) and magicians--mythical beings from folklore and popular culture which continue to thrill readers of traditional stories and manga today. This richly illustrated book by Andreas Marks, the leading authority on Japanese woodblock prints, presents authentic illustrations and descriptions of 100 different creatures, including: Bakeneko: Monster cats in human form who lick lamp oil and prey on humans born in the year of the Rat Han'nya: Female demons with sharp and pointed horns, metallic eyes and a smirking smile Hihi: Large ape-like monsters who live in the mountains and have superhuman strength, enabling them to kidnap and kill humans Mikoshi-nyudo: Yokai with an enormously extended necks who appear only at night And many more! The striking visual examples in this book are drawn from the rich canon of early Japanese prints, books, and paintings--sourced from leading museums, libraries and private collections worldwide. They show the "original" forms and appearances of the creatures which form the basis for all subsequent depictions. Also included are two long handscrolls from the Minneapolis Institute of Art (A Collection of Monsters and Night Parade of One Hundred Demons) which are reproduced here for the very first time. Prints and Paintings sourced from the following list of museums, libraries and private collections: Art Institute of Chicago Christie's, London & New York The Cleveland Museum of Art Harold B. Lee Library, Brigham Young University Kyoto University, Main Library Library of Congress Los Angeles County Museum of Art The Metropolitan Museum of Art Minneapolis Institute of Art National Museum of Japanese History Princeton University Library Rijksmuseum, Amsterdam Smithsonian Libraries

Indian art, increasingly popular in the west, cannot be fully appreciated without some knowledge of the religious and philosophical background. This book, first published in 1985, covers all aspects of Hindu iconography, and explains that its roots lie far back in the style of prehistoric art. The dictionary demonstrates the rich profusion of cults, divinities, symbols, sects and philosophical views encompassed by the Hindu religious tradition.

Published in 1981: This book is two-hundred Catalogues of the Major Exhibitions reproduced in facsimile in forty-seven volumes.

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 book traces the emergence of modernism in art in South Asia by exploring the work of the iconic artist George Keyt. Closely interwoven with his life, Keyt's art reflects the struggle and triumph of an artist with very little support or infrastructure. He painted as he lived: full of colour, turmoil and intensity. In this compelling account, the author examines the eventful course of Keyt's journey, bringing to light unknown and startling facts: the personal ferment that Keyt went through because of his tumultuous relationships with women; his close involvement with social events in India and Sri Lanka on the threshold of Independence; and his somewhat angular engagement with artists of the '43 Group. A collector's delight, including colour plates and black and white photographs, reminiscences and intimate correspondences, this book reveals the portrait of an artist among the most charismatic figures of our time. This book will be of interest to scholars and researchers of art and art history, modern South Asian studies, sociology, cultural studies as well as art aficionados.

This book traces the intimate connections between Britain and China throughout the nineteenth century and argues for China's central impact on the British visual imagination. Chang brings together an unusual group of primary sources to investigate how nineteenth-century Britons looked at and represented Chinese people, places, and things, and how, in the process, ethnographic, geographic, and aesthetic representations of China shaped British writers' and artists' vision of their own lives and experiences. For many Britons, China was much more than a geographical location; it was also a way of seeing and being seen that could be either embraced as creative inspiration or rejected as contagious influence. In both cases, the idea of China's visual difference stood in negative contrast to Britain's evolving sense of the visual and literary real. To better grasp what Romantic and Victorian writers, artists, and architects were doing at home, we must also understand the foreign "objects" found in their midst and what they were looking at abroad.

James McNeill Whistler and France: A Dialogue in Paint, Poetry, and Music is the first full-length and in-depth study to position this painter within the overall trajectory of French modernism during the second half of the nineteenth century and to view the artist as integral to the aesthetic projects of its most original contributors. Suzanne M. Singletary maintains that Whistler was in a unique situation as an insider within the emerging French avant-garde, thereby in an enviable position to both absorb and transform the innovations of others - and that until now, his widespread influence as a catalyst among his colleagues has been neither investigated nor appreciated. Singletary contends that Whistler's importance rivals that of Manet, whose multi-layered (and often unexpected) interconnections with Whistler are the focus of one chapter. In addition, Whistler's pivotal role in linking the legacies of Baudelaire, Delacroix, Gautier, Wagner, and other mid-century innovators to the later French Symbolists has previously been largely ignored. Courbet, Degas, Monet, and Seurat complete the roster of French artists whose dialogue with Whistler is highlighted.

The city of Kyoto has undergone radical shifts in its significance as a political and cultural center, as a hub of the national bureaucracy, as a symbolic and religious center, and as a site for the production and display of art. However, the field of Japanese history and culture lacks a book that considers Kyoto on its own terms as a historic city with a changing identity. Examining cultural production in the city of Kyoto in two periods of political transition, this book promises to be a major step forward in advancing our knowledge of Kyoto's history and culture. Its chapters focus on two periods in Kyoto's history in which the old capital was politically marginalized: the early Edo period, when the center of power shifted from the old imperial capital to the new warriors' capital of Edo; and the Meiji period, when the imperial court itself was moved to the new modern center of Tokyo. The contributors argue that in both periods the response of Kyoto elites-emperors, courtiers, tea masters, municipal leaders, monks, and merchants-was artistic production and cultural revival. As an artistic, cultural and historical study of Japan's most important historic city, this book will be invaluable to students and scholars of Japanese history, Asian history, the Edo and Meiji periods, art history, visual culture and cultural history.

Roads, Mobility, and Violence in Indigenous Literature and Art from North America explores mobility, spatialized violence, and geographies of activism in a diverse archive of literary and visual art by Indigenous authors and artists. Building on Raymond Williams's observation that "traffic is not only a technique; it is a form of consciousness and a form of social relations," this book pulls into focus racial, sexual, and environmental violence localized around roads. Reading this archive of texts next to lived struggles over spatial justice, Rymhs argues that roads are spaces of complex signification. For many Indigenous communities, the road has not often been so open. Recent Indigenous writing and visual art explores this tension between mobility and confinement. Drawing primarily on the work of Marie Clements, Tomson Highway, Marilyn Dumont, Leanne Simpson, Richard Van Camp, Kent Monkman, and Louise Erdrich, this volume examines histories of uprooting and violence associated with roads. Along with exploring these fraught histories of mobility, this book emphasizes various ways in which Indigenous communities have transformed roads into sites of political resistance and social memory.

This fully revised and updated third edition offers students and artists valuable insights into traditional color theory and its practical application using today's cutting-edge technology. The text is lavishly illustrated, stressing issues of contemporary color use and examining how today's artists and designers are using color in a multitude of mediums in their work. It is the only book that has parity between the male and female artists and designers represented, while containing more multicultural and global examples of art and design than any other text. This book begins with how we see color and its biological basis, progressing to the various theories about color and delving into the psychological meaning of color and its use. There are individual chapters on color use in art and design, as well as global and multicultural color use. One chapter investigates cross cultural life events such as marriages and funerals, while examining the six major religions' conceptual and psychological underpinnings of color use. The final chapter explores the future of color. Contemporary Color is the ideal text for color theory courses, but also for beginning art and design students, no matter what their future major discipline or emphasis may be. It provides the foundation on which to build their career and develop their own personal artistic voice and vision.

Part of a series of handy, luxurious Flame Tree Pocket Books. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're delightfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use, handbags and make a dazzling gift. This version features the classic Asian masterpiece Hokusai's The Great Wave. The most notable period in Hokusai's artistic life was the latter part of his career, beginning in 1830 when he was 70 years old. He began the series of landscapes he is most famous for: 'Thirty-six Views of Mount Fuji', which included The Great Wave, off Kanagawa, probably his most iconic image.

Delve into the origins and contemporary interpretations of various styles of non-figural Zuni jewelry designs, including nugget work, cluster work, petit point, needle point, snake eye, and channel work. This groundbreaking study establishes the identities of many Zuni artists from the 1940s, '50s, and '60s, and showcases their turquoise and coral pins, bracelets, bolo ties, and other ornaments. Featured are more than fifteen pieces each by masters, past and present, such as Doris and Warren Ondelacy, Alice and Duane Quam, Fannie Weebothee Ondelacy, Julie Ondelacy Lahi, Lee and Mary Weebothee, Alice Leekya Homer, and Ellen Quandelacy. More than three hundred vibrant color photos reveal subtle variations that indicate each master s distinctive style. Published here, for the first time, are cluster work bracelets by Leekya Deyuse, the single most famous jeweler in the Southwest, and Dan Simplicio s nugget work, along with ways to distinguish his from other artists works."

The first full-length and comprehensive study of the illustrations of Sterne's work, this book explores the ability of Sterne's texts to inspire the visual imagination. It helps to explain why scores of editions of his fiction have been illustrated, some profusely: to fulfill the reader's desire, as well as the artist's compulsion, to visualize Sterne's words. Gerard places his subject in a clear and innovative theoretical framework which opens the field to general word and image studies. The author begins by examining the distinct varieties of pictorialism in Sterne's texts. The remainder of the study takes into account three remarkable series of illustrations-representing Trim reading the sermon, didactic sentimentalism in A Sentimental Journey and Henry Mackenzie's Man of Feeling, and the many and diverse portrayals of 'poor Maria' - to demonstrate the ways in which culture projects these texts differently through the various artists.

This interdisciplinary collection of essays brings together scholars in the fields of art history, theatre, visual culture, and literature to explore intersections between the European avant-garde (c. 1880–1945) and themes of health and hygiene, such as illness, contagion, cleanliness, and contamination. Examining the artistic oeuvres of some of the canonical names of modern art – including Edgar Degas, Edvard Munch, Pablo Picasso, George Orwell, Marcel Duchamp, and Antonin Artaud – this book investigates instances where the heightened political, social, and cultural currencies embedded within issues of hygiene and contagion have been mobilised, and subversively exploited, to fuel the critical strategy at play. This edited volume promotes an interdisciplinary and socio-historically contextualised understanding of the criticality of the avant-garde gesture and cultivates scholarship that moves beyond the limits of traditional academic subjects to produce innovative and thought-provoking connections and interrelations across various fields. The book will be of interest to scholars working in art history, literature, theatre, cultural studies, modern history, medical humanities, and visual culture.