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Books > Arts & Architecture > History of art / art & design styles > Art styles not limited by date
Japanese Art: Critical and Primary Sources is a four-volume
reference work offering a critical overview of the history and
culture of Japanese art. Drawing upon a wide range of
English-language texts, the volumes explore the diverse and
changing material and visual cultures of Japan from the pre-modern
period to the present day. Over 75 essays from Asia, North America
and Europe are assembled in this set and they address four major
themes - material cultures (Buddhist objects, ceramics, textiles,
interiors), visual cultures (painting, calligraphy, photography),
printed matter (wood-block prints, books) and the context for
Japan's art history (networks of patronage, sites of artistic
production and consumption). Each volume is separately introduced
and the selected materials are presented thematically, and
chronologically within categories. Together the four volumes of
Japanese Art present a major scholarly resource for the field.
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.
This book examines three overarching themes: Chinese modernity's
(sometimes ambivalent) relationship to tradition at the start of
the twentieth century, the processes of economic reform started in
the 1980s and their importance to both the eradication and rescue
of traditional practices, and the ideological issue of
cosmopolitanism and how it frames the older academic generation's
attitudes to globalisation. It is important to grasp the importance
of these points as they have been an important part of the
discourse surrounding contemporary Chinese visual culture. As
readers progress through this book, it will become clear that the
debates surrounding visual culture are not purely based on
aesthetics--an understanding of the ideological issues surrounding
the appearance of things as well as an understanding of the social
circumstances that result in the making of traditional artifacts
are as important as the way a traditional object may look.
Contemporary Chinese Visual Culture is an important book for all
collections dealing with Asian studies, art, popular culture, and
interdisciplinary studies.
How did modern Chinese painters see landscape? Did they depict
nature in the same way as premodern Chinese painters? What does the
artistic perception of modern Chinese painters reveal about the
relationship between artists and the nation-state? Could an
understanding of modern Chinese landscape painting tell us
something previously unknown about art, political change, and the
epistemological and sensory regime of twentieth-century China? Yi
Gu tackles these questions by focusing on the rise of open-air
painting in modern China. Chinese artists almost never painted
outdoors until the late 1910s, when the New Culture Movement
prompted them to embrace direct observation, linear perspective,
and a conception of vision based on Cartesian optics. The new
landscape practice brought with it unprecedented emphasis on
perception and redefined artistic expertise. Central to the pursuit
of open-air painting from the late 1910s right through to the early
1960s was a reinvigorated and ever-growing urgency to see suitably
as a Chinese and to see the Chinese homeland correctly. Examining
this long-overlooked ocular turn, Gu not only provides an
innovative perspective from which to reflect on complicated
interactions of the global and local in China, but also calls for
rethinking the nature of visual modernity there.
Finely decorated ceramic vessels made for cooking, storage, and
serving were a hallmark of Native Caddo cultures. The tradition
began as many as 3,000 years ago among Woodland-period ancestors,
thrived between c. 800 and 1800, and continues today in the Caddo
Nation of Oklahoma. In Ancestral Caddo Ceramic Traditions, eighteen
experts offer a comprehensive assessment of recent findings about
the manufacture and use of Caddo pottery, touching on craft
technology, artistic and stylistic variation, and links between
ancestral production and modern artistic expression. Part I
discusses the evolution of ceramic design and morphology in the
Caddo Archaeological Area by geographic region: southwestern
Arkansas, northwestern Louisiana, southeastern Oklahoma, and East
Texas. It also gives focused study to the salt-making industry and
its associated pottery. Part II features ceramic studies employing
state-of-the-art techniques such as geochemical analysis,
fine-grained analysis of stylistic elements, iconography, and
network analysis. These essays yield increased understanding of
specialized craft production and long-distance exchange; decorative
variation at community and regional scales to reveal past
communities of practice and identity; ancient Caddo cosmological
and religious beliefs; and geographical variation in vessel forms.
In Part III, two contemporary Caddos furnish an important Native
perspective. Drawing on personal experience, they explore meaning
and inspiration behind modern pottery productions as a cultural
strategy for the persistence of community and identity. The first
volume of its kind for Caddo archaeology, Ancestral Caddo Ceramic
Traditions is also a valuable reference on ceramic practices across
the broader southeastern archaeological region.
This engaging exploration of the Maya pantheon introduces readers
to the complex stories of Mesoamerican divinity through the
stunning carvings, ceramics, and metalwork of the Classic period
Focusing on the period between A.D. 250 and 900, Lives of the Gods
reveals that ancient Maya artists evoked a pantheon as rich and
complex as the more familiar Greco-Roman, Hindu-Buddhist, and
Egyptian deities. The authors show how this powerful cosmology
informed some of the greatest creative achievements of Maya
civilization, represented here from the monumental to the miniature
through more than 140 works in jade, stone, and clay. Thematic
chapters supported by new scholarship on recent archaeological
discoveries detail the different types of gods and their domains,
the role of the divine in the lives of the ancient Maya, and the
continuation of these traditions from the colonial period through
the present day. Published by The Metropolitan Museum of
Art/Distributed by Yale University Press Exhibition Schedule: The
Metropolitan Museum of Art, New York (November 21, 2022-April 2,
2023) Kimbell Art Museum, Fort Worth, TX (May 7-September 3, 2023)
This volume, the second in the series to catalogue the Gallery's
collection of decorative arts, mainly draws from the renowned
collection of the Widener and Steele families. It focuses primarily
on Chinese ceramics from the Qing period, including earthenware,
stoneware, and polychrome porcelain. In addition, rugs and carpets
from the collection of Peter A.B. Widener are catalogued and
published here for the first time.
This new guidebook introduces readers to Buddhist art through the
celebrated collections of the Smithsonian's museums of Asian art in
Washington, DC. Paths to Perfection explores Buddhist art and its
history across cultures. An intriguing look at artistic responses
to one of the world's great religions.
The story Raven and the Box of Daylight, which tells how Raven
transformed the world and brought light to the people by releasing
the stars, moon, and sun, holds great significance to the Tlingit
people of the Pacific Northwest Coast. A new body of work by artist
Preston Singletary (American, born 1963) will immerse readers in
Tlingit traditions by telling this story through his monumental
glass works and installations. Primarily known for his celebration
of Tlingit art and design, Singletary will explore new ways of
working with glass inspired by Tlingit design principles. Tlingit
objects were traditionally used to show wealth and tell stories by
representing elements of the natural world, as well as the
histories of individual families. By drawing upon this tradition,
Singletary's art creates a unique theatrical atmosphere, in which
the pieces follow and enhance a narrative. This book includes texts
that place Singletary's work within the wider histories of both
glass art and native arts traditions-especially the art of
spoken-word storytelling. Also included are a biography and an
interview with the artist.
The book provides what the author calls a 'skillbase' - a reliable
set of practices and attitudes that can successfully produce bone
carvings of great functional and aesthetic beauty.
Taiwan's historical and contemporary status as a nexus of Asian and
Western cultural influences provides a rich canvas of research for
the author who is uniquely trained in both Western critical and
Taiwanese theatrical practices. This highly original book furnishes
a creative interpretation of alternative, contemporary Taiwanese
Theater by applying Feminism, Interculturalism and other western
theories to three intercultural performances of four avant-garde
female directors from 1993-2004. Although several important
playwrights and directors have staged vital gender critiques of
national and international practices, almost no critic has remarked
upon them. The book's intersection of a gender critique, and, in
part, a postcolonial one, with Taiwanese stage practices is,
therefore, a unique and significant contribution. ..". This book is
original and forward-looking in its approach." - Sue-Ellen Case,
Professor and Chair, Critical Studies, Department of Theater, UCLA
Drawing from Life explores revolutionary drawing and sketching in
the early People's Republic of China (1949-1965) in order to
discover how artists created a national form of socialist realism.
Tracing the development of seminal works by the major painters Xu
Beihong, Wang Shikuo, Li Keran, Li Xiongcai, Dong Xiwen, and Fu
Baoshi, author Christine I. Ho reconstructs how artists grappled
with the representational politics of a nascent socialist art. The
divergent approaches, styles, and genres presented in this study
reveal an art world that is both heterogeneous and cosmopolitan.
Through a history of artistic practices in pursuit of Maoist
cultural ambitions-to forge new registers of experience, new
structures of feeling, and new aesthetic communities-this original
book argues that socialist Chinese art presents a critical,
alternative vision for global modernism.
John Lockwood Kipling (1837-1911) started his career as an
architectural sculptor at the South Kensington Museum (today the
Victoria and Albert Museum). Much of his life, however, was spent
in British India, where his son Rudyard was born. He taught at the
Bombay School of Art and later was appointed principal of the new
Mayo School of Art (today Pakistan's National College of Art and
Design) as well as curator of its museum in Lahore. Over several
years, Kipling toured the northern provinces of India, documenting
the processes of local craftsmen, a cultural preservation project
that provides a unique record of 19th-century Indian craft customs.
This is the first book to explore the full spectrum of artistic,
pedagogical, and archival achievements of this fascinating man of
letters, demonstrating the sincerity of his work as an artist,
teacher, administrator, and activist. Published in association with
Bard Graduate Center Exhibition Schedule: Victoria and Albert
Museum, London (01/14/17-04/02/17) Bard Graduate Center, New York
(09/15/17-01/07/18)
This lushly illustrated book examines the cross-cultural influences
and unique artistic dialogue between Hispano and Native American
arts in the Southwest over the past 400 years since Spanish
colonization. Insightful essays by historians, artists, and
scholars including Estevan Rael-Galvez, Lane Coulter, Enrique R.
Lamadrid, Marc Simmons, and others, explore the impact of cultural
interaction on various art forms including painting, sculpture,
metalwork, textiles, architecture, furniture and performance and
ceremonial arts. Over 150 art works and photographs gathered from
museums across the country are testimony to the unique Southwestern
aesthetic that developed from this dynamic cultural exchange.
Published as companion to an exhibition at the Museum of Spanish
Colonial Art in Santa Fe, New Mexico on display through September
30, 2010.
With hundreds of vivid and detailed color photographs and an easy
narrative style enlivened by historical vignettes and images, the
authors bring overdue appreciation to a centuries-old Native
American basketmaking tradition in the Northeast. Explore the full
range of vintage Indian woodsplint and sweetgrass basketry in the
Northeastern U.S. and Canada, from practical "work" baskets made
for domestic use to whimsical "fancy" wares that appealed to
Victorian tourists. Basket collectors may compare four regional
styles: Southern New England and Long Island, Northern New England
and Canadian Maritimes, Upper New York State, and the Great Lakes.
Learn of the craft's key role in supporting many Eastern Algonquian
and Iroquoian peoples through generations of turmoil and change.
Discover how today's creative young artisans are building upon
their legacy. The book's "Resources" section guides readers to
relevant websites and publications as well as northeastern Indian
basketry collections in more than 30 public museums.
With the help of scholars, historians and artists, and through a
range of diverse media, this book sets out to follow in the
footsteps of Prophet Muhammad (*), retracing his movements during
the famous Hijrah 'migration', from Makkah to the oasis town of
Yathrib soon to become Madinat an-Nabi, the ''City of the Prophet".
Situating the Hijrah firmly within the geography in which it
unfolded, the book uses the sacred landscape of the Hijrah as a
receptacle for its stories, memories and the events that took place
along the route, thus providing tangible links between us and this
momentous journey as never before experienced. For over fourteen
hundred years, al-Hijrah, the famous story of the Prophet
Muhammad's (*) 'migration' from Makkah to Madinah, has been told
and retold by generations of Muslims throughout the world. This
story, one of endurance overcoming adversity in pursuit of
religious freedom to establish a nation united by bonds of
brotherhood and faith, has continued to be an inspiration from
which renewed meanings have been drawn. This book follows in the
footsteps of the Prophet (*), retracing his movements during this
crucial journey, and examining what occurred as he left his home in
Makkah to the oasis town of Yathrib soon to become the "City of the
Prophet". However, unlike anything seen before, this book anchors
the Hijrah firmly within the geography in which it unfolded. Acting
as a receptacle for its stories, memories and the events that took
place along the route, the sacred landscape of the Hijrah provides
tangible links between us and this momentous journey as never
before, bringing a greater appreciation of the Hijrah story.
A young girl's imagination takes flight and carries her on a
magical journey. From the great mosques to wondrous palaces and
ornamental gardens, she journeys through the rich artistic heritage
of the Islamic civilization. The richness and beauty of Islamic art
is brought to life.
For over forty years, Tadashi Suzuki has been a unique and vital force in both Japanese and Western theater, creating and directing many internationally acclaimed productions including his famous production of The Trojan Women, which subsequently toured around the world. An intergral part of his work has been the development and teaching of his rigorous and controversial training system, the Suzuki method, whose principles have also been highly influential in contemporary theater. Paul Allain, an experienced practitioner of the Suzuki method, re-evaluates Suzuki's work, giving a lucid overview of his development towards an international theater aesthetic. He examines Suzuki's collaborators, the importance of architecture and environment in his theater and his impact on performance all over the world. The Art of Stillness is a lively, critical study of one of the most important and uncompromising figures in contemporary world theater.
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