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"Stunning, dark, exhilarating and disturbing, Murata's collection of contemporary Japanese comic art gives an inside view of the explosive work happening there today." -Publishers Weekly This full-color collection compiles more than twenty years of comics, cover art, promotional art and character designs from legendary Japanese artist Range Murata. The oversized release contains dozen gate-fold posters, and several comics from the ROBOT anthology along with renditions of each of his magazine covers. This is the most definitive collection of Murata's work so far. Range Murata is best known as a character designer for Last Exile and Blue Submarine no. 6.
One of the largely untold stories of Orientalism is the degree to which the Middle East has been associated with "deviant" male homosexuality by scores of Western travelers, historians, writers, and artists for well over four hundred years. And this story stands to shatter our preconceptions of Orientalism. To illuminate why and how the Islamicate world became the locus for such fantasies and desires, Boone deploys a supple mode of analysis that reveals how the cultural exchanges between Middle East and West have always been reciprocal and often mutual, amatory as well as bellicose. Whether examining European accounts of Istanbul and Egypt as hotbeds of forbidden desire, juxtaposing Ottoman homoerotic genres and their European imitators, or unlocking the homoerotic encoding in Persian miniatures and Orientalist paintings, this remarkable study models an ethics of crosscultural reading that exposes, with nuance and economy, the crucial role played by the homoerotics of Orientalism in shaping the world as we know it today. A contribution to studies in visual culture as well as literary and social history, The Homoerotics of Orientalism draws on primary sources ranging from untranslated Middle Eastern manuscripts and European belles-lettres to miniature paintings and photographic erotica that are presented here for the first time.
While significant advances have been made in direct dating French and Spanish rock art, direct dates obtained by AMS for the New World are extremely scarce and existing stylistic chronologies cannot be trusted. These papers from the International Rock Art Congress held in Bolivia in 1997 focus in the dating problem. They also reflect discussion of the earliest art in the light of recent research and as seen from a world palaeo-art perspective.
This new interpretive history of Mexican art and architecture from the Spanish Conquest to the early decades of the 21st century is the most comprehensive introduction to the subject in fifty years. James Oles ranges widely across media and genres, offering new readings of paintings, murals, sculptures, buildings, prints and photographs. He interprets major works by such famous artists as Diego Rivera and Frida Kahlo, but also discusses less familiar figures who were equally important in the construction of national identity. The story of Mexican art is set in its rich historical context by the book's treatment of political and social change. The author draws on recent scholarship to examine crucial issues of race, class and gender, including an exploration of the work of indigenous artists during the colonial period, and of women artists in the 19th and 20th centuries. Throughout, Oles shows how artists in Mexico participated in local and international developments, and highlights the important role played by Mexicans in the art world of the last five centuries.
The catalogue presents for the first time the rich Tibetan artistic heritage through the collection of Michael and Justyna Buddeberg: carpet manufacture, craftwork in metal and the manufacture of furniture. Previously neglected aspects of everyday Tibetan culture are explored and make the catalogue an essential starting point for further research. The Buddeberg collection includes masterpieces of Tibetan art in textile and metal work and presents us with hitherto disregarded asp ects of the Tibetan approach to art. Carpets for sitting on or as a riding accessory played a central role in their traditional culture but have hitherto been neglected in research, as has metal craftwork, which focused on the ornamentation of end knobs on the poles supporting the cultic paintings. The lavishly illustrated catalogue closes this gap and presents together with contributions by acknowledged specialists an in - depth overview of the fields of carpet and textile art, metalwork and furniture produc tion.
"Contested Visions" offers a comparative view of the two principal viceroyalties of Spanish America: Mexico and Peru. Spanning developments from the 15th to the 19th century, this ambitious book looks at the many ways and contexts in which indigenous peoples were represented in art of the early modern period--by colonial artists, European artists, and themselves. More than two hundred works of art, including paintings, sculptures, illustrated books, maps, codices, manuscripts, and other materials such as textiles, keros, and feather works, are reproduced in full-color illustrations, demonstrating the rich variety of these artistic approaches.
A collection of essays by an international team of distinguished scholars in the field uncovers the different meanings and purposes behind these depictions of native populations of the Americas. These experts explore the role of the visual arts in negotiating a sense of place in late pre-Columbian and colonial Latin America. They address a range of important topics, such as the construct of the Indian as a good Christian; how Amerindians drew on their pre-Columbian past to stake out a place within the Spanish body politic; their participation in festive rites; and their role as artists. Lavishly illustrated, this ambitious book provides a compelling and original framework by which to understand the intersection of vision and power in the Spanish colonial world.
No contemporary artist has succeeded so thoroughly in blending classical Chinese art and modern abstract art as Cao Jun, who has exhibited widely in China, as well as at the Louvre. Accompanying an exhibition at the McMullen Museum of Art, Boston College, this volume presents the art of Cao Jun for the first time in the United States. Featuring the artist's early wild animal paintings, to his landscapes, to recent explorations of space depicted abstractly, the book also showcases Cao Jun's calligraphy and ceramics. Essays by Chinese and American scholars examine Cao Jun's art, showing how it is deeply rooted in the experience of nature and how it portrays our place within nature. The essays demonstrate also the way in which Cao Jun's art brings together classical Chinese painting with modern abstract forms akin to those of Western art. Yet Cao Jun's art foregoes simply fusing these traditions; it employs the techniques of Chinese ink and brush painting and uses ink- and color-splashing to produce abstract forms.
Historically, major women artists have been excluded from the mainstream art canon. Aligned with the resurgence of feminism in pop culture, Broad Strokes offers an entertaining corrective to that omission. Art historian Bridget Quinn delves into the lives and careers of 15 brilliant female artists in text that's smart, feisty, educational and an enjoyable read. Replete with beautiful reproductions of the artists' works and contemporary portraits of each artist by renowned illustrator Lisa Congdon, this is art history from 1600 to the present day for the modern art lover, reader and feminist.
Cloisonne , the art of applying enamel to objects, dates back to the early Byzantine Empire. It then spread rapidly to China, Southeast Asia, Russia, and eventually the whole of the European continent. It is in Japan, however, that the technique was perfected. One of the world's leading collections of Japanese cloisonne is the subject of this beautifully designed book, which celebrates a painstaking process that results in unbelievably intricate, delicate, and breathtaking works of art. The colors, which are separated by hair-thin ribbons of metal, are made of vitreous enamel applied by brush and dropper, and then fired and polished repeatedly until only the thinnest metal wires are visible within a design of brilliant colors. As the movement spread throughout the world, Japan began producing cloisonne in the mid-19th century. Japanese studios turned out exquisite examples of the form, many of which were displayed in numerous international expositions, including the Vienna Exhibition of 1873, where a Japanese cloisonne piece won first prize. The Gerber/Sherry collection is unparalleled in its variety and excellence. Along with exquisitely reproduced illustrations, this book includes a brief historical overview focusing on the work of Namikawa Yasuyuki; an examination of the role the Japanese government played in promoting cloisonne; and the collector's own story of discovering, falling in love with, and procuring these precious works of art.
- The first volume to explore the staggering collection of Jane and Kito de Boer- Functions as an introduction to Indian modernism, with strong representations of several individual artists as well as major movementsModern Indian Painting presents a survey of Indian painting from the late 19th century to the present day, drawn from the private collection of Jane and Kito de Boer remarkable for its broad historical scope and wide range of artists. The book clearly delineates major developments over a long period of time, while contextualizing them with previously unpublished examples by major artists. The first part of the book features the de Boers talking about their passion for India and Indian art. The second part presents a history of modern Indian painting, with essays on the Bengal School, the so-called 'Dutch Bengal' artists, the Calcutta naturalists, the portrait painters of the Bombay School in the early 20th century, the Progressive Artists Group and the post-Independence artists of Bengal. The de Boer collection also contains strong representations of a few individual artists, such as Chittaprosad, Ganesh Pyne, Ramachandran and Broota, whose works are explored through essays and interviews. The fact that many of these chapters draw almost exclusively on the de Boer collection is a testament to its incredible size and breadth. In this volume, we hope to show how the collection takes a dispassionate view of the global status of Indian art, while at the same time revealing a commitment and long-term engagement with the country and its creativity. With contributions from Partha Mitter, Giles Tillotson, Yashodhara Dalmia, Sona Datta, Sanjay Kumar Mallik and Rob Dean.
No region has a textile tradition more vivid and romantic than that of Central Asia. This book provides a spectacularly illustrated survey of these textiles, displaying in more than 200 colour plates the opulent silks and velvets, the exquisite embroideries, the magnificent felts and woollen fabrics, and the fine cotton weaves produced throughout the area - in the workshops of the oasis towns of the Silk Route, the houses of the smaller villages and towns, and in the nomads' tents on their outdoor looms. Janet Harvey describes the decorative motifs, the materials, dyes and looms; the types of object made and their diverse regional and tribal variations; the clothes and costumes; and the lavish embroideries and embellishments. A valuable source of information for designers and students, collectors and travellers, the volume includes an essential glossary, bibliography and a list of collections.
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.
The mysterious beauty of Punu masks and the artistic culture of Gabon are presented in a detailed and engaging book accompanied by numerous full-colour illustrations. Accompanying a major travelling exhibition, this ambitious volume showcases more than 4,000 years of Peruvian art in approximately 350 diverse, exciting works. A large selection of pre-Columbian treasures, along with masterpieces dating from the colonial era and striking modern paintings and sculptures produced during the first half of the twentieth century, offer new perspectives on the rich cultural identity of the country. In this richly illustrated reference book, more than twenty international contributors explore the mythologies and rituals of ancient Andean civilisations; their perpetuation, concealment, or hybridisation with Catholicism during the eighteenth and nineteenth centuries; and the rediscovery and valorisation of Peruvian popular traditions and faiths in the twentieth century.
Stanley Park, Vancouver, September 2014. A fourteen-foot
bronze-cast cedar sculpture is being erected. Dignitaries from all
levels of government are present, including leaders of the Coast
Salish First Nations and representatives from Portugal's Azores
Islands. Luke Marston, carver/artist, supervises as his three-year
project is revealed to the world.
The sculpture--titled "Shore to Shore"--depicts Luke's
great-great-grandparents, Portuguese Joe Silvey, one of BC's most
colourful pioneers, and Kwatleematt (Lucy), a Sechelt First Nation
matriarch and Silvey's second wife. Silvey and Kwatleematt are
flanked by Khaltinaht, Silvey's first wife, a noblewoman from the
Musqueam and Squamish First Nations. The trio are surrounded by the
tools of Silvey's trade: seine nets, whaling harpoons, and the
Pacific coast salmon that helped the family thrive in the early
industries of BC. The sculpture references the multicultural
relationships that are at the foundation of BC, while also
showcasing the talents of one of Canada's finest contemporary First
Combining interviews, research and creative non-fiction narration, author Suzanne Fournier recounts Marston's career, from his early beginnings carving totems for the public at the Royal BC Museum, to his study under Haida artist Robert Davidson and jewellery master Valentin Yotkov, to his visits to both his ancestral homes: Reid Island and the Portuguese Azores island of Pico--journeys which provided inspiration for the "Shore to Shore" statue.
This is a study of the art of Islamic calligraphy, examining many aspects for the first time. The catalogue features colour reproductions of each item discussed, including works by the most celebrated calligraphers in history that exemplify the continuity of the form from the 14th to the 20th century. The power of the written word to convey emotional intensity in a pleasing visual form, particularly when dealing with sacred subject matter, has been a constant them in Islamic culture. The demanding discipline of Islamic calligraphy, transmitted from master to pupil throughout the ages, has been the source of one of the humanity's richest artistic traditions. The Nasser D Khalili Collection holds examples of the Islamic calligraphy that span six centuries and demonstrate the continuity of this central art form into the modern era. The holdings - nearly 300 in total - include exceptional items that feature the work of many of the most famous master calligraphers: Yaqut, Seyh Hamdullah, Hafiz Osman, Mahmud Calaluddin, Mehmed Rasim and Yusuf 'Hafiz al-Qur'an'. This book is intended for Islamicists, collectors and curators of Islamic art, specialist art trade, some students, and general readers.
The Khalili Collection contains probably the largest collection of Islamic lacquer in the world and includes bookbindings, pen boxes, caskets and mirror cases, as well as spectacle cases, fans and a backgammon board. Part One follows the history of Islamic lacquer from the late 15th century onwards, from Istanbul to India, while Part Two concentrates on the period with which most Islamic lacquer is associated - Iran in the Qajar period (1779-1924). The detailed descriptions are accompanied by several color views of each object and are supplemented by an appendix containing magnified reproductions of all the signatures.
An inkstone, a piece of polished stone no bigger than an outstretched hand, is an instrument for grinding ink, an object of art, a token of exchange between friends or sovereign states, and a surface on which texts and images are carved. As such, the inkstone has been entangled with elite masculinity and the values of wen (culture, literature, civility) in China, Korea, and Japan for more than a millennium. However, for such a ubiquitous object in East Asia, it is virtually unknown in the Western world. Examining imperial workshops in the Forbidden City, the Duan quarries in Guangdong, the commercial workshops in Suzhou, and collectors' homes in Fujian, The Social Life of Inkstones traces inkstones between court and society and shows how collaboration between craftsmen and scholars created a new social order in which the traditional hierarchy of "head over hand" no longer predominated. Dorothy Ko also highlights the craftswoman Gu Erniang, through whose work the artistry of inkstone-making achieved unprecedented refinement between the 1680s and 1730s. The Social Life of Inkstones explores the hidden history and cultural significance of the inkstone and puts the stonecutters and artisans on center stage. A William Sangki and Nanhee Min Hahn Book
Because there were h10 continuities of type and style in this most characteristically Japanese of arts, the first of the two parts making up this volume includes several pieces dating from the 17th to the 19th-century. The revival of the classical style is covered in depth, with major works by such revered figures as Nakayama Komin (1808-70) and Shirayama Shosai (1853-1923) and there is a large group of examples of shibayama work which combines lacquer with other materials to create a rich and exotic effect. The centrepiece of the Collection is an extravagantly decorated cabinet by Harui Komin (b. 1869) presented by the Japanese Crown Prince to the future King Edward VIII of England in 192l. An introductory essay by Julia Hutt of the Victoria and Albert Museum chronicles the development of lacquer in response to Westem demand, while Edward Wrangham, one of the world's foremost lacquer collectors, contributes an article on the Rimpa style.
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.
Sarnath has long been regarded as the place where the Buddha preached his first sermon and established the Buddhist monastic order. Excavations at Sarnath have yielded the foundations of temples and monastic dwellings, two Buddhist reliquary mounds (stupas), and some of the most important sculptures in the history of Indian art. This volume offers the first critical examination of the historic site. Frederick M. Asher provides a longue duree (long-term) analysis of Sarnath-including the plunder, excavation, and display of antiquities and the Archaeological Survey of India's presentation-and considers what lies beyond the fenced-in excavated area. His analytical history of Sarnath's architectural and sculptural remains contains a significant study of the site's sculptures, their uneven production, and their global distribution. Asher also examines modern Sarnath, which is a living establishment replete with new temples and monasteries that constitute a Buddhist presence on the outskirts of Varanasi, the most sacred Hindu city.
In A Revolutionary Artist of Tibet author David Jackson focuses on the Khyenri style, the least known among the three major painting styles of Tibet, dating from the mid-fifteenth through the seventeenth century. The painting of Khyentse Chenmo, the founder of the Khyenri style who flourished from the 1450s to the 1490s, was significant for his radical rejection of the prevailing, classic Indic (especially Nepalese-inspired) styles with formal red backgrounds, enthusiastically replacing them with the intense greens and blues of Chinese landscapes. Khyentse was famed for his fine and realistic looking work, both as a painter and sculptor. His painting style has often been overlooked or misunderstood by scholars-sometimes misidentified as an early example of the Karma Gardri style - but it is a missing link in the history of Tibetan painting. The Khyenri style is now most closely linked with a small sub-school of the Sakya tradition, the Gongkarwa. The most important in-situ murals of the Khyenri style survive at the Gongkar Monastery in southern Tibet, south of Lhasa near the Gongkar airport. There we find murals by the hand of Khyentse Chenmo himself; many of them were covered by a layer of whitewash and thus escaped destruction during the Cultural Revolution. Jackson also brings to light several of Khyentse's paintings in museums outside Tibet, including some that have been unrecognized for over a century.
Offering a wide-ranging study of contemporary literature, film, visual art, and performance by writers and artists who live and work in the United Kingdom but also maintain strong ties to postcolonial Africa and the Caribbean, Living Cargo explores how contemporary black British culture makers have engaged with the institutional archives of colonialism and the Atlantic slave trade in order to reimagine blackness in British history and to make claims for social and political redress. Steven Blevins calls this reimagining "unhousing history"-an aesthetic and political practice that animates and improvises on the institutional archive, repurposing it toward different ends and new possibilities. He discusses the work of novelists, including Caryl Phillips, Fred D'Aguiar, David Dabydeen, and Bernardine Evaristo; filmmakers Isaac Julien and Inge Blackman; performance poet Dorothea Smartt; fashion designer Ozwald Boateng; artists Hew Locke and Yinka Shonibare; and the urban redevelopment of Bristol, England, which unfolded alongside the public demand to remember the city's slave-trading past. Living Cargo argues that the colonial archive is neither static nor residual but emergent. By reassembling historical fragments and traces consolidated in the archive, these artists not only perform a kind of counter-historiography, they also imagine future worlds that might offer amends for the atrocities of the past.
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