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In this book, Xiaolong Wu offers a comprehensive and in-depth study of the Zhongshan state during China's Warring States Period (476-221 BCE). Analyzing artefacts, inscriptions, and grandiose funerary structures within a broad archaeological context, he illuminates the connections between power and identity, and the role of material culture in asserting and communicating both. The author brings an interdisciplinary approach to this study. He combines and cross-examines all available categories of evidence, including archaeological, textual, art historical, and epigraphical, enabling innovative interpretations and conclusions that challenge conventional views regarding Zhongshan and ethnicity in ancient China. Wu reveals the complex relationship between material culture, cultural identity, and statecraft intended by the royal patrons. He demonstrates that the Zhongshan king Cuo constructed a hybrid cultural identity, consolidated his power, and aimed to maintain political order at court after his death through the buildings, sculpture, and inscriptions that he commissioned.
Dorothea Bleek (1873 to 1948) devoted her life to completing the `bushman researches' that her father and aunt had begun in the closing decades of the nineteenth century. This research was partly a labour of familial loyalty to Wilhelm, the acclaimed linguist and language scholar of nineteenth-century Germany and later of the Cape Colony, and to Lucy Lloyd, a self-taught linguist and scholar of bushman languages and folklore; but it was also an expression of Dorothea's commitment to a particular kind of scholarship and an intellectual milieu that saw her spending her entire adult life in the study of the people she called `bushmen'. How has history treated Dorothea Bleek? Has she been recognised as a scholar in her own right, or as someone who merely followed in the footsteps of her famous father and aunt? Was she an adventurer, a woman who travelled across southern Africa driven by intellectual curiosity to learn all she could about the bushmen? Or was she conservative, a researcher who belittled the people she studied and dismissed them as lazy and improvident? These are some of the questions with which Jill Weintroub starts her thoughtful biography of Dorothea Bleek. The book examines Dorothea Bleek's life story and family legacy, her rock art research and her fieldwork in southern Africa, and, in light of these, evaluates her scholarship and contribution to the history of ideas in South Africa. The compelling and surprising narrative reveals an intellectual inheritance intertwined with the story of a woman's life, and argues that Dorothea's life work - her study of the bushmen - was also a sometimes surprising emotional quest.
A cultural history of the face in Western art, ranging from portraiture in painting and photography to film, theater, and mass media This fascinating book presents the first cultural history and anthropology of the face across centuries, continents, and media. Ranging from funerary masks and masks in drama to the figural work of contemporary artists including Cindy Sherman and Nam June Paik, renowned art historian Hans Belting emphasizes that while the face plays a critical role in human communication, it defies attempts at visual representation. Belting divides his book into three parts: faces as masks of the self, portraiture as a constantly evolving mask in Western culture, and the fate of the face in the age of mass media. Referencing a vast array of sources, Belting's insights draw on art history, philosophy, theories of visual culture, and cognitive science. He demonstrates that Western efforts to portray the face have repeatedly failed, even with the developments of new media such as photography and film, which promise ever-greater degrees of verisimilitude. In spite of sitting at the heart of human expression, the face resists possession, and creative endeavors to capture it inevitably result in masks--hollow signifiers of the humanity they're meant to embody. From creations by Van Eyck and August Sander to works by Francis Bacon, Ingmar Bergman, and Chuck Close, Face and Mask takes a remarkable look at how, through the centuries, the physical visage has inspired and evaded artistic interpretation.
Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example is based on a beautiful illustration of the Temple of the Golden Pavilion in Kyoto, Japan.
"Hall's consummate history is not just the story of the evolution of one of the world's great collections... The book is also a through-the-keyhole insight into the shifting tastes, good or bad, of 1,000 years of monarchs." - The Times The Royal Collection is the last great collection formed by the European monarchies to have survived into the twenty-first century. Containing over a million artworks and objects, it covers all aspects of the fine and decorative arts, from paintings by Rembrandt and Michelangelo to grand sculpture, Faberge eggs and some of the most exquisite furniture ever made. The Royal Collection also offers a revealing insight into the history of the British monarchy from William the Conqueror to Queen Elizabeth II, recording the tastes and obsessions of kings and queens over the past 500 years. With unprecedented access to the royal residences of St James' Palace, Windsor Castle and Buckingham Palace, Art, Passion & Power traces the history of this national institution from the Middle Ages to the present day, exploring how royalty used the arts to strengthen their position as rulers by divine right and celebrating treasures from the Crown Jewels to the "Abraham" tapestries in Hampton Court Palace. Author Michael Hall examines the monarchy's response to changing attitudes to the arts and sciences during the Enlightenment and celebrates the British monarchy's role in the democratisation of art in the modern world. Packed with glimpses of rarely seen artworks, Art, Passion & Power is a visual treat for all art enthusiasts. Accompanying the BBC television series and a major exhibition at the Royal Academy, Art, Passion & Power is the definitive statement on the British monarchy's treasures of the art world.
The Elegant Life of the Chinese Literati is the first complete translation of a classic 17th century Chinese guide to the ordinary objects of everyday life from trees and birds to windows and tea. Similar to Feng Shui, the principles laid out in this book describe how to find harmony among these ordinary objects to bring peace to your life. With annotations by Chen Zhi, a well known modern scholar of Chinese garden design, readers gain insight into the historical and cultural context of instructions such as, The wooden cross-piece of the door frame should have a strip of speckled bamboo nailed horizontally across it either with two or four nails, never six. Lavishly illustrated with famous Chinese paintings and photographs of Chinese gardens, furniture, and objets d'art, readers can immerse themselves in Chinese culture, history, and values, and perhaps even learn to appreciate the everyday objects in their own lives. With the pace of modern life, we often don't stop to appreciate the little things in life. Everyday objects go unnoticed and are continuously underappreciated. However, these individual elements come together to form a larger picture one that defines our lifestyle.
Joseph Hillaire (Lummi, 1894-1967) is recognized as one of the
great Coast Salish artists, carvers, and tradition-bearers of the
twentieth century. In "A Totem Pole History," his daughter Pauline
Hillaire, Scalla-Of the Killer Whale (b. 1929), who is herself a
well-known cultural historian and conservator, tells the story of
her father's life and the traditional and contemporary Lummi
narratives that influenced his work.
"A Totem Pole History" contains seventy-six photographs,
including Joe's most significant totem poles, many of which Pauline
watched him carve. She conveys with great insight the stories,
teachings, and history expressed by her father's totem poles. Eight
contributors provide essays on Coast Salish art and carving, adding
to the author's portrayal of Joe's philosophy of art in Salish
life, particularly in the context of twentieth century
This engaging volume provides an historical record to encourage
Native artists and brings the work of a respected Salish carver to
the attention of a broader audience.
Lavishly illustrated, "Generations "celebrates the nearly 800 works of Native American art in The Helen Cox Kersting Collection, including pottery, jewelry, baskets, weavings, katsinas, and paintings. Representing the work of Native artists from the late 1800s to the present, the collection demonstrates the survival and flowering of work by Navajo, Pueblo, and other American Indian artists across the generations.
Helen Cox Kersting grew up in Illinois, but gained fame as an opera star in Europe. Kersting became a sophisticated collector of exceptional work by famed jewelers, such as Leo Poblano, John Gordon Leak, Charles Loloma, and Frank Dishta, and she was fascinated by the pottery of masters such as Maria Martinez, Lucy Lewis, Margaret Tafoya, and Nampeyo. Creations by leading Native artists today, including brilliant works by Veronica Poblano, Tammy Garcia, Grace Medicine Flower, Jacob Koopee, and Les Namingha, were added to the collection.
"Generations "presents a visual feast of Native arts of the American Southwest, with approximately 550 color plates. Essays by James H. Nottage, Diana F. Pardue (Heard Museum), and Bruce Bernstein (Santa Fe Indian Market) provide insights into the history of the collection.
Beautifully illustrated, this volume will give readers a clear idea of the history and aesthetics of Chinese painting, as well as the chance to appreciate the depiction of vivid figures, awesome landscapes, exquisite flowers and dainty insects that best represent its achievements. Beginning with the ancient invention of paper and continuing through to the renewal and innovation of modern times, Chinese Painting also covers the six canons of Chinese painting, painting as a vehicle for Confucianism, Buddhism and Daoism and the poetic qualities of Chinese paintings.
An illustrated guide to one of the most enduring masterworks of world literature Written in the eleventh century by the Japanese noblewoman Murasaki Shikibu, The Tale of Genji is a masterpiece of prose and poetry that is widely considered the world (TM)s first novel. Melissa McCormick provides a unique companion to Murasaki (TM)s tale that combines discussions of all fifty-four of its chapters with paintings and calligraphy from the Genji Album (1510) in the Harvard Art Museums, the oldest dated set of Genji illustrations known to exist. In this book, the album (TM)s colorful painting and calligraphy leaves are fully reproduced for the first time, followed by McCormick (TM)s insightful essays that analyze the Genji story and the album (TM)s unique combinations of word and image. This stunning compendium also includes English translations and Japanese transcriptions of the album (TM)s calligraphy, enabling a holistic experience of the work for readers today. In an introduction to the volume, McCormick tells the fascinating stories of the individuals who created the Genji Album in the sixteenth century, from the famous court painter who executed the paintings and the aristocrats who brushed the calligraphy to the work (TM)s warrior patrons and the poet-scholars who acted as their intermediaries. Beautifully illustrated, this book serves as an invaluable guide for readers interested in The Tale of Genji, Japanese literature, and the captivating visual world of Japan (TM)s most celebrated work of fiction.
"Papers from the 2006 Mayer Center Symposium at the Denver Art Museum"
The Denver Art Museum held a symposium in 2006 to examine a little-known aspect of globalization in the early modern era. Specialists in the arts and history of Asia and Latin America came from Europe, Asia, and the Americas to present recent research on connections between the two areas. Edited by Denver Art Museum curators Donna Pierce and Ronald Otsuka, this volume presents revised and expanded versions of the papers presented at the symposium.
Gustavo Curiel opens the volume with a discussion of the reception and re-interpretation of Asian motifs in the various art forms of viceregal New Spain (Mex-ico). Essays by Etsuko Rodriguez and George Kuwayama present detailed analyses of Chinese porcelains excavated in Mexico and Peru that were imported via the Manila galleon trade. Roxanna Brown uses new evidence from shipwrecks in Southeast Asia to document the China-Manila branch of the trade network. Jorge Rivas looks at colonial furniture made in northern South America using Asian-inspired techniques and motifs. Sofia Sanabrais describes the adaptation of the Asian folding screen by Mexican artists. Meiko Nagashima addresses the exportation of Japanese lacquer traditions to Spanish America and Spain. Sonia Ocana analyzes Japanese-inspired elements in shell-inlaid frames made in Mexico. Marjorie Trusted investigates the relationship to Asian models of Baroque ivory sculptures produced in the Americas; Abby Sue Fisher investigates the impact of Asian trade textiles on clothing in viceregal Mexico; and Clara Bargellini documents Asian trade goods at the missions of northern Mexico.
An interdisciplinary study bringing together scholars from two fields of art and addressing a variety of artistic media, this beautifully illustrated volume will be an important resource for scholars and enthusiasts of Asian and Latin American art and history.
This work is the first thorough analysis of the creative oeuvre of
the Quay Brothers. Known for their animation shorts that rely on
puppetry, miniatures, and stop-motion techniques, their fiercely
idiosyncratic films are fertile fields for Suzanne Buchan's
engaging descriptions and provocative insights into the Quays'
art-and into the art of independent puppet animation.
The classic book on the art and history of weaving--now expanded and in full color Written by one of the twentieth century's leading textile artists, this splendidly illustrated book is a luminous meditation on the art of weaving, its history, its tools and techniques, and its implications for modern design. First published in 1965, On Weaving bridges the transition between handcraft and the machine-made, highlighting the essential importance of material awareness and the creative leaps that can occur when design problems are tackled by hand. With her focus on materials and handlooms, Anni Albers discusses how technology and mass production place limits on creativity and problem solving, and makes the case for a renewed embrace of human ingenuity that is particularly important today. Her lucid and engaging prose is illustrated with a wealth of rare and extraordinary images showing the history of the medium, from hand-drawn diagrams and close-ups of pre-Columbian textiles to material studies with corn, paper, and the typewriter, as well as illuminating examples of her own work. Now available for a new generation of readers, this expanded edition of On Weaving updates the book's original black-and-white illustrations with full-color photos, and features an afterword by Nicholas Fox Weber and essays by Manuel Cirauqui and T'ai Smith that shed critical light on Albers and her career.
Collecting Paradise features Buddhist objects, including manuscripts, paintings and sculptures in ivory, metal and wood, dating from the 7th to 17th centuries. With 44 objects, the exhibition presents an original and innovative look at art from the region of Kashmir and the Western Himalayas, as well as how it has been collected over time. The catalogue features essays by a leading scholar in the field, Robert Linrothe of Northwestern's Weinberg College of Arts and Sciences, with the support of Christian Luczanits of SOAS, University of London.
For centuries the nature and meaning of Islamic art has been misunderstood in the West, being regarded as no more than decoration. But in fact the abstract art of Islam represents the sophisticated development of a supra-naturalistic tradition, since the portrayal of human and animal forms has always been discouraged by the Prophet Muhammad, so as to avoid idolatry. Hence, among the world's great artistic traditions, Islamic art has maintained its singular integrity and inner content with the least diversion from its aim: the affirmation of unity as expressed in diversity. The Pythagorean/Platonic doctrines are easily recognizable in the body of Islamic geometric art, as the wisdom of this practice was exalted by Socrates, in Plato's Republic dialogue (527), when he specifically gave the reason for practising geometry. Its practice rekindled the inner organ (or eye of wisdom) by which alone we can see the truth. The geometrical patterns of Islamic art reveal to the eye of the sensitive onlooker the intrinsic cosmological laws affecting all Creation. The primary function of these patterns is to lead the mind from the literal and mundane world towards the underlying permanent reality. The numerous sequential drawings show how the art of Islam is inseparable from the science of mathematics. Thus, we can see clearly how an Earth-centred - 'common-sense' - view of the cosmos gives renewed signficance to the number patterns produced by the orbits of the planets, correlating the cosmos as experienced by man with the patterns created in Islamic art, and thereby throwing new light on the perennial symbolic significance of number. The mathematical tessellations inherent in space-filling patterns are revealed as an essential practical and philosophical basis for the creation of each completed work of art - whether a tile, a carpet, a wall or an entire building - and thus affirm the underlying essential unity of all things.
An innovative and compelling presentation of world-class Tibetan Buddhist art, elucidating its esoteric themes through visual storytelling Encouraging personal engagement with Tibetan Buddhism, this dynamic book presents spectacular Himalayan art and explores the philosophical tenets encoded in its imagery. Taking as its theme the universally accessible experience of Awakening, the book's main text leads readers along an immersive journey of self-discovery, aided by a virtual guide, or lama, and traditional art meant to support meditative practice. Complementary essays examine Tibetan Buddhism's ritual tools, paintings, symbolic imagery, and artistic traditions. Beautiful color images of all artworks, including three by contemporary Nepalese-American artist Tsherin Sherpa, and selected important details enhance our understanding of their complex iconography.
Since 1989 Bensley has designed more than two 200 properties in 30 countries, and this book showcases his imaginative world: lush, detailed, lively, playful and seductive. From the Royal Istana in Malaysia, a private beach house in Phuket, the renowned Siam Hotel, to his latest the InterContinental Danang in Vietnam, more than 500 pages of vivid photographs in large format are included, from 26 projects in 12 countries. ESCAPISM is a visual journey through his profound contributions to hospitality designs, untrammelled in turn by wordy explanation enjoy the visual feast!
"The site is the result of a careful study of the river-banks, and commands so many views of varied beauty, that all the glories of the Hudson may be said to circle it." H. W. French, Art and Artists in Connecticut, 1879
In 1609, Henry Hudson sailed up the river that now bears his name. The exhibition and its accompanying publication Glories of the Hudson: Frederic Edwin Church's Views from Olana mark the quadricentennial of his discovery by highlighting Frederic Church's sketches of the prospect from his hilltop home overlooking the river. Church made his first sketch of the Hudson River and Catskill Mountains from Red Hill the south end of the property that became his home, Olana in 1845, on a sketching expedition suggested by his teacher Thomas Cole. Returning to the Hudson Valley in 1860 as the nation's most famous and best-paid artist, Church settled on a farm on the lower slope of the Sienghenbergh, securing for himself and his new wife a splendid vantage point for studying, sketching, and painting the river.
Church continued to add land to his property, attaining new and varied vistas of the river, and crowned the estate with a Persian-inspired house designed to frame splendid views of the Hudson River and Catskill Mountains. Church never tired of his views of the river, documenting his passion for the Hudson in paintings, oil sketches, and drawings. From Olana, he observed the transformations wrought by the changing seasons, weather, and light, capturing chilly winter snows, brilliant sunsets, and passing storms in sketches executed with a few brushstrokes or autumn colors and clear winter light in more finished easel paintings. The best of these are reproduced here, in eighty-three illustrations, sixty-nine in full color, some of them published for the first time. The essay by Evelyn D. Trebilcock and Valerie A. Balint, the introduction by Kenneth John Myers, and the foreword by John K. Howat together provide an absorbing narrative of the development of the Hudson River School and its most successful artist.
The Olana Partnership, Hudson, New York, and New York State Office of Parks, Recreation and Historic Preservation, Albany, New York, organized Glories of the Hudson: Frederic Edwin Church's Views from Olana, held from May 23 to October 12, 2009"
This visually stunning catalogue presents c. 300 iconographical materials and texts from the Tibetan collections of the Royal Library and National Museum of Denmark. Most of the entries describe such iconographical materials as mandalas, elemental divination paintings, ritual "tsakli" cards and prayer flags. Unique handwritten meditation manuals, a Mongolian Book of the Dead, illuminated manuscripts as well as philosophical and medical works are also featured. Together remarkable materials, which represent rare and unique forms of communication between man and nature in written and iconographical forms, play a central role in the performance of Buddhist and shamanistic rituals. Designed especially as an essential source of reference for scholars working on the religious and cultural history of Tibet, the catalogue includes over 250 colour illustrations that help identify much of the material listed.
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