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The social and economic rise of the chungin class ("middle people" who ranked between the yangban aristocracy and commoners) during the late Choson period (1700-1910) ushered in a world of materialism and commodification of painting and other art objects. Generally overlooked in art history, the chungin contributed to a flourishing art market, especially for ch'aekkori, a new form of still life painting that experimented with Western perspective and illusionism, and a reimagined style of the traditional plum blossom painting genre. Sunglim Kim examines chungin artists and patronage of the visual arts, and their commercial transactions, artistic exchange with China and Japan, and historical writings on art. She also explores the key role of men of chungin background in preserving Korean art heritage in the tumultuous twentieth century, including the work of the modern Korean collector and historian O Se-ch'ang, who memorialized many chungin painters and calligraphers. Revealing a vivid picture of a complex art world,Flowering Plums and Curio Cabinets presents a major reconsideration of late Choson society and its material culture. Lushly illustrated, it will appeal to scholars of Korea and East Asia, art history, visual culture, and social history.
From the fluttering fabric of a tent, to the blurred motion of the potter's wheel, to the rhythm of a horse puppet's wooden hooves-these scenes make up a set of mid-1980s art exhibitions as part of the U.S. Festival of India. The festival was conceived at a meeting between Indira Gandhi and Ronald Reagan to strengthen relations between the two countries at a time of late Cold War tensions and global economic change, when America's image of India was as a place of desperate poverty and spectacular fantasy. Displaying Time unpacks the intimate, small-scale durations of time at work in the gallery from the transformation of clay into ceramic to the one-on-one, personal encounters between museum visitors and artists. Using extensive archival research and interviews with artists, curators, diplomats, and visitors, Rebecca Brown analyzes a selection of museum shows that were part of the Festival of India to unfurl new exhibitionary modes: the time of transformation, of interruption, of potential and the future, as well as the contemporary and the now.
The Image of Christ expresses the view that modern secular audiences can engage with the masterpieces of Christian art at an emotional as well as a purely aesthetic or historical level. This book aims to help the viewer understand these pictures by focusing attention on the purpose for which they were made, and explores what they might have meant to their original viewers. The authors trace how a recognizable image of Christ evolved, starting with the earliest symbols and metaphorical images such as the Sheperd, the Lamb and the Vine. They trace the emergence of a "true likeness," emphasizing the importance of the Veronica, the "miraculous portrait" said to have been imprinted on the cloth held out to Jesus on the way to Calvary. They describe how artists conveyed the paradox of Christ's dual nature-human and divine, weak and powerful, victim and victor-in portrayals of his infancy. They also show how images of Christ's suffering during the Passion were intended to convey a cosmic, not just a personal significance. Artists have attempted to put extremes of suffering and despair into an overal context of hope-a vein of hope that runs from the catacombs to Hiroshima and beyond. These are images that speak, even to those who do not hold Christian beliefs. Artists had to make it clear that in representing the life and death of Jesus they were offering a continuing truth; we the spectators have to become eyewitnesses to an event that matters to us now. As a result, the different moments and aspects of Christ's life become, in the hands of great artists, a reflection of all human experience. The Virgin nursing her son expresses the feelings of love every mother has for her child. Christ mocked in innocence beset by violence. Christ risen and appearing to Mary Magdalene is a universal reaffirmation that love cannot be destroyed by death. Beyond their obvious religious significance, these are paintings that have a universal meaning.
Woodblock printing is a traditional artistic medium in Japan most renowned for its use in ukiyo-e or 'floating world' prints. Both moving and mesmerising, this medium captures scenes with considerable atmosphere and vibrancy whether it be crashing waves, autumn leaves or serene waterfalls. Beginning with a fresh and thoughtful introduction to Japanese woodblock art, Japanese Woodblocks Masterpieces of Art goes on to showcase key works by artists such as Katsuhika Hokusai and Ando Hiroshige.
Essays by Gauvin Alexander Bailey, Clara Bargellini, Dilys E. Blum,
Elizabeth Hill Boone, Marcus Burke, Mitchell A. Codding, Thomas B.
F. Cummins, Cristina Esteras Martin, M. Concepcion Garcia Saiz,
Ilona Katzew, Adrian Locke, Gridley McKim-Smith, Alfonso Ortiz
Crespo, Jorge F. Rivas P., Nuno Senos, Edward J. Sullivan, and
Brought to Spain in the thirteenth century by Islamic artisans, the enameled earthenware known as mayA3lica is decorated with a lead glaze to which tin oxide is added to create an opaque white surface. By the fifteenth century, several areas in Spain were well known throughout Europe for the quality of these ceramics, and with Spainas expansion into the New World the mayA3lica tradition came into Mexico. There it underwent further changes, notably the use of indigenous design motifs and patterns inspired by Chinese porcelain. Over the next three centuries, the potters of New Spain produced ceramics characterized by a distinctive mestizo aesthetic. This tradition continues today in both Mexico and Spain.
Assembled in connection with a major exhibition at the Museum of International Folk Art in Santa Fe, this book moves discussion of mayA3lica beyond its stylistic merits in order to understand it in historic and cultural context. The contributors, specialists in art and art history, architecture, anthropology, archaeology, and the folk arts, place the ceramics in history and daily life, illustrating their place in trade and economics. Examining both historic and contemporary examples, they also take us into the pottersa workshops.
Underground film-maker Mark Hejnar lived in Thailand for four years, during which time he relentlessly explored the far reaches of the kingdom taking thousands of photographs along the way. Hejnar's interest lay not in Thailand's bars, beaches and other tourist attractions, but in its stunning range of indigenous art, icons and architecture which lies, hidden in plain sight, just beyond the beaten path. From religious folk-paintings to infernal torture sculptures, from half-buried gods in temple cave complexes to the spectral dolls who beckon from derelict spirit houses, Hejnar has captured a revelatory world of the marvelous and the monstrous, showing how Thailand's religions, myths and art are inextricably bound together. SECRET SIAM presents over 300 of Hejnar's rich photographic images, reproduced in full size and full-colour throughout, accompanied by a series of concise explanatory texts. It stands as a unique visual introduction to one of the world's most fascinating and yet seldom explored artistic cultures.
Art and Judaism During the Greco-Roman Period explores the Jewish experience with art during the Greco-Roman period from the Hellenistic period through the rise of Islam. It starts from with the premise that Jewish art in antiquity was a "minority" or "ethnic" art and surveys ways that Jews fully participated in, transformed, and at times rejected the art of their general environment. Art and Judaism focuses upon the politics of identity during the Greco-Roman period, even as it discusses ways that modern identity issues have sometimes distorted and at other times refined scholarly discussion of ancient Jewish material culture. Art and Judaism, the first historical monograph on ancient Jewish art in forty years, evaluates earlier scholarship even as it sets out in new directions. Placing literary sources in careful dialogue with archaeological discoveries, this "New Jewish Archaeology" is an important contribution to Judaic Studies, Religious Studies, Art History, and Classics. The Revised Edition includes a new introduction, additional images, and color plates.
A pioneer among Palestinian artists, Sophie Halaby was the first Arab woman to study art in Paris, subsequently living independently as a professional painter in Jerusalem throughout her life. She was born in 1906 in Kiev to a Russian mother and a Christian Arab father. Her family fled to Jerusalem in 1917 in the wake of the Russian Revolution. Her life was marked by violence and war, including the Arab Revolt from 1936 to 1939, the Nakba in 1948, and the Six-Day War in 1967. In response, Halaby drew a series of political cartoons criticizing British rule and Zionist goals; later in life, she followed the work of younger artists who supported the Palestine liberation movement. However, the political turmoil of her times is largely not depicted in her art. Instead, her work is a tribute to the enduring beauty of the landscape and flora of Jerusalem, often sketched in pen and ink or red and black chalk, and painted with egg tempera, oils, and watercolors. Schor's compelling biography shines new light on this little-known artist and enriches our understanding of modern Palestinian history.
This nuanced account explores Maya mythology through the lens of art, text, and culture. It offers an important reexamination of the mid-16th-century Popol Vuh, long considered an authoritative text, which is better understood as one among many crucial sources for the interpretation of ancient Maya art and myth. Using materials gathered across Mesoamerica, Oswaldo Chinchilla Mazariegos bridges the gap between written texts and artistic representations, identifying key mythical subjects and uncovering their variations in narratives and visual depictions. Central characters-including a secluded young goddess, a malevolent grandmother, a dead father, and the young gods who became the sun and the moon-are identified in pottery, sculpture, mural painting, and hieroglyphic inscriptions. Highlighting such previously overlooked topics as sexuality and generational struggles, this beautifully illustrated book paves the way for a new understanding of Maya myths and their lavish expression in ancient art.
Western Art and the Wider World explores the evolving relationship between the Western canon of art, as it has developed since the Renaissance, and the art and culture of the Islamic world, the Far East, Australasia, Africa and the Americas. * Explores the origins, influences, and evolving relationship between the Western canon of art as it has developed since the Renaissance and the art and culture of the Islamic world, the Far East, Australasia, Africa and the Americas * Makes the case for world art long before the fashion of globalization * Charts connections between areas of study in art that long were considered in isolation, such as the Renaissance encounter with the Ottoman Empire, the influence of Japanese art on the 19th-century French avant-garde and of African art on early modernism, as well as debates about the relation of contemporary art to the past. * Written by a well-known art historian and co-editor of the landmark Art in Theory volumes
The white-tailed deer had a prominent status in Maya civilization: it was the most important wild-animal food source at many inland Maya sites and also functioned as a major ceremonial symbol. Offering an in-depth semantic analysis of this imagery, The Beast Between considers iconography, hieroglyphic texts, mythological discourses, and ritual narratives to translate the significance and meaning of the vibrant metaphors expressed in a variety of artifacts depicting deer and hunting. Charting the importance of deer as a key component of the Maya diet, especially for elites, and analyzing the coupling of deer and maize in the Maya worldview, The Beast Between reveals a close and long-term interdependence between the Maya and these animals. Not only are deer depicted naturalistically in hunting and ritual scenes, but also they are assigned human attributes. This rich imagery reflects the many ways in which deer hunting was linked to status, sexuality, and war as part of a deeper process to ensure the regeneration of both agriculture and ancestry. Drawing on methodologies of art history, archaeology, and ethnology, this illuminating work is poised to become a key resource for multiple fields.
Based on groundbreaking new scholarship, "Upside Down: Arctic Realities" brings together ancient and modern works from the Arctic region, including major sites in Russia and Alaska. The featured pieces dramatically illustrate the continuing influence of centuries-old traditions in modern times and include both utilitarian and decorative items such as amulets, funerary offerings, and ceremonial masks from the Alaskan Yup'ik. Essays by leading scholars in the field explore such topics as the relationship between artist and material and between the aesthetics of native Arctic cultures and their environments.
This lively, lavishly illustrated volume presents rare decorative arts from Asia - all of exceptional quality - from ornate handled daggers and exquisite silver fi ligree boxes to diamond-studded jewels, magnifi cent embroidered silk and divination bowls by master craftsmen. The decorative arts of South and Southeast Asia, and especially those of the 18th and 19th centuries, and trade items produced during the same period, constitute a much neglected area. Such items, which in a Europeanized context tend to be labelled objets de vertu, are under-represented in public and private collections. While the decorative arts of later Western Europe and North America might be strongly represented, when it comes to South and Southeast Asia, there is a bias towards the ancient, the religious and the sculptural. And yet the decorative arts of Asia of recent centuries is a more accessible and tangible fi eld for many. The relative attractiveness of more recent Asian decorative arts, for which provenance issues need not be so acute, grows as the movement of archaeological and other early material across international borders becomes evermore complex and problematic, be it for commercial or for exhibition purposes. Seeking to redress the balance, this volume presents objects of exceptional quality that are often incredibly rare - ranging from ornate handled daggers and exquisite silver fi ligree boxes to diamond-studded jewels and magnifi cent embroidered silk. Only some of these objects were made for religious reasons, and, though old, few are ancient. Instead, they are the product of cultural infl uences that have crossed borders, produced in the quest for beauty. The catalogue also includes a selection of items usually designated as `tribal' art. Many of these have a decorative as much as a ritualistic component. Among the objects from Nigeria are a stunning 19th-century processional staff , topped with the figure of a queen, two museum-quality divination bowls carved by master craftsmen, and a striking and possibly unique fi ve-headed dance costume. Most have been sourced from old UK and European collections, and most are likely to have been collected during the colonial era. This is important. Overwhelmingly, most `tribal' art items available commercially today are reproduction pieces and have no place in serious collections. Michael Backman is widely published on Asian culture, art and politics. He is the author of six books that cover all aspects of Asia. His Asian Eclipse was named by The Economist among its `Books of the Year' and appeared on several bestseller lists. His gallery in central London specializes in works of art from India, Southeast Asia, Central Asia, the Himalayas, the Islamic World, and Colonial and Tribal art. The gallery sells to museums and important private collections across the world.
The Ming Dynasty (1368 1644) is regarded as one of the most glorious in Chinese history especially in regards to porcelain. Ming denotes the finest and most precious porcelain, which regularly achieves astronomical prices at auctions. The Ming vase is a popular cliche even for those who are not familiar with the history of Chinese ceramics. This publication unveils the Ming myth, by presenting the internationally recognised collection of Chinese ceramics at the Dutch Ceramics Museum Princessehof. It comprises spectacular items of the highest quality, which were created exclusively for the Chinese imperial court. The rich and varied inventory of Chinese export ceramics for the Southeast Asian market, primarily from the former Dutch colony of Indonesia, is presented here in context for the first time. The founding of the Dutch East India Company VOC1602 also finally opened up the European market for Ming porcelain. Most significantly the blue and white Kraak porcelain, which was an exotic decorative luxury in wealthy households and features prominently in Dutch still lifes of that era.
The Mongol Century explores the visual world of China's Yuan dynasty (1271-1368), the spectacular but short-lived regime founded by Khubilai Khan, regarded as the pre-eminent khanate of the Mongol empire. This book illuminates the Yuan era - full of conflicts and complex interactions between Mongol power and Chinese heritage - by delving into the visual history of its culture. Shane McCausland considers how Mongol governance and values imposed a new order on China's culture and also how a sedentary, agrarian China posed specific challenges to the Mongols' militarist and nomadic lifestyle. He also explores how an unusual range of expectations and pressures were placed on Yuan culture: the idea that visual culture could create cohesion across a diverse yet hierarchical society, while balancing Mongol desires for novelty and display with Chinese concerns about posterity. Although in recent years exhibitions have begun to open up the inherent paradoxes of Yuan culture, this is the first study in English to adopt a fully comprehensive approach.It incorporates the full range of visual media of the East Asia region to reconsider the impact Mongol culture had in China, from urban architecture and design to tomb murals and porcelain, and from calligraphy and printed paper money to stone sculpture. A fresh and invigorating analysis, The Mongol Century explores, in fascinating detail, the visual culture of this brief but captivating era of East Asian history.
Flying Carpets, the seventh volume produced as part of Drago's continuing collaboration with the French Academy in Rome - Villa Medici, is the catalog for the exhibition of the same name, on display from May 30th through October 21st, 2012. The book, edited by Philippe-Alain Michaud, is made up of 144 pages with over 70 images and includes introductions by ric de Chassey, director of the French Academy in Rome and Oliver Michelon, Director of the Mus e des Abattoirs of Toulouse, as well as a critical essay by the author. While modernist tradition maintains that the carpet was used as a paradigm for the affirmation of flatness in painting, the contrary may also be said; the flying carpet can be envisaged as a way of introducing movement in surfaces that, by using the properties of expansion and rotation, produces effects of floating, disorientation or disequilibrium. Much like the flying carpet, cinema can also involve properties or forces aimed at bringing surfaces to life - unwinding, projecting, editing - that go beyond the simple projection of a space standardized by the norms of theatricality. Thus, both the exhibition and catalogue bring together and compare real carpets and films. Carpets that, according to their function, texture or composition, produce an effect that enlivens the surfaces, and films that in this way can be reconsidered from the ornamental point of view: monochrome compositions evoking the undefined linear traces of Navajo blankets (Paul Sharits, Nothing), blades of grass, leaves and insect wings are directly stuck like a cinematographic equivalent of garden carpets (Stan Brakhage, Mothlight), positive/negative inversions producing an effect identical to that of retractable motifs (Peter Kubelka, Adebar), overlapping borders (Hans Richter, Rhythm 21), ..
The designs in this magnificent collection of beautifully engraved frames, scrollwork, and other motifs originate from an extremely rare mid-19th century source. Featuring a lavish selection of ornaments (decorated with flowers, mythological creatures, and other fanciful touches) this treasury of copyright-free art also includes striking designs incorporating classical columns, a rich selection of heraldic designs, and a variety of charming calligraphic alphabets. A priceless resource for artists and designers.
Comprising thousands of islands and hundreds of cultural groups, Polynesia and Micronesia cover a large part of the vast Pacific Ocean, from the dramatic mountains of Hawaii to the small, flat coral islands of Kiribati. This new volume in the acclaimed Oxford History of Art series offers a superb introduction to the rich artistic traditions of these two regions, traditions that have had a considerable impact on modern western art through the influence of artists such as Gauguin. After an introduction to Polynesian and Micronesian art separately, the book focuses on the artistic types, styles, and concepts shared by the two island groups, thereby placing each in its wider cultural context. From the textiles of Tonga to the canoes of Tahiti, Adrienne Kaeppler sheds light on religious and sacred rituals and objects, carving, architecture, tattooing, personal ornaments, basket-making, clothing, textiles, fashion, the oral arts, dance, music and musical instruments--even canoe-construction--to provide the ultimate introduction to these rich and vibrant cultures. Each chapter begins with a quote from an indigenous person from one of the island areas covered in the book and features both historic and contemporary works of art. A timeline for migration into the Pacific includes the latest information from archaeology, as well as the influx of explorers and missionaries and important exhibitions and other artistic events. With more than one hundred illustrations--most in full color--this volume offers a stimulating and insightful account of two dynamic artistic cultures.
On the African continent, images of mothers and children are found wherever the visual arts are, from early rock-art sites in Egypt and the Sahara to the contemporary arts of South Africa. Discovered in a variety of materials, from stone, ivory, and metals to beadwork, wood, and even paintings, images of maternity enliven virtually every type of object made in the region. Defining maternity as a biological and cultural phenomenon, the author goes beyond obvious notions of fertility to consider the importance of maternity in thought, ritual action, and worldview. Maternity images of all eras evoke deep and significant messages - well beyond what meets the eye.
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