The Tlingit form a distinct ethnic and linguistic group of the Koluschan stock. Koluschan is from the Russian kalyushka, meaning piece of wood (worn in the nether lip). They occupy a compact geographical area along the Pacific coast from about Mount St Elias to the Nass River, and including Sitka and the other adjacent islands of the Alexander Archipelago. The chief tribes are the Chilcat, Stikine and Yakutat. They are essentially a seafaring people and today work in the salmon industries. Prior to the deterioration suffered from contact with the white race they were the foremost traders of the Northwest.

Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. Contributors: Zsofia Buda, Andreina Contessa, Monika Czekanowska-Gutman, Basema Hamarneh, Moshe Idel, Sharman Kadish, Reuven Kiperwasser, Rudolf Klein, Susan Nashman Fraiman, Ido Noy, Larry Silver, Ronit Sorek, Sharon Weiser-Ferguson Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica Department of Jewish Art Bar-Ilan University Ramat-Gan 52900 telephone 03 5318413 fax 03 6359241 email [email protected]

The idea that Japanese art is produced through rote copy and imitation is an eighteenth-century colonial construct, with roots in Romantic ideals of originality. Offering a much-needed corrective to this critique, Michael Lucken demonstrates the distinct character of Japanese mimesis and its dynamic impact on global culture, showing through several twentieth-century masterpieces the generative and regenerative power of Japanese arts. Choosing a representative work from each of four modern genres-painting, film, photography, and animation-Lucken portrays the range of strategies that Japanese artists use to re-present contemporary influences. He examines Kishida Ryusei's portraits of Reiko (1914-1929), Kurosawa Akira's Ikiru (1952), Araki Nobuyoshi's photographic novel Sentimental Journey-Winter (1991), and Miyazaki Hayao's popular anime film Spirited Away (2001), revealing the sophisticated patterns of mimesis that are unique but not exclusive to modern Japanese art. In doing so, Lucken identifies the tensions that drive the Japanese imagination, which are much richer than a simple opposition between progress and tradition, and their reflection of human culture's universal encounter with change. This global perspective explains why, despite its non-Western origins, Japanese art has earned such a vast following.

Once seen as a collection of artifacts and ritual objects, African art now commands respect from museums and collectors. Bennetta Jules-Rosette and J.R. Osborn explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa. The authors take a three-pronged approach. Part One ranges from curiosity cabinets to virtual websites to offer a history of ethnographic and art museums and look at their organization and methods of reaching out to the public. In the second part, the authors examine museums as ecosystems and communities within communities, and they use semiotic methods to analyze images, signs, and symbols drawn from the experiences of curators and artists. The third part introduces innovative strategies for displaying, disseminating, and reclaiming African art. The authors also propose how to reinterpret the art inside and outside the museum and show ways of remixing the results. Drawing on extensive conversations with curators, collectors, and artists, African Art Reframed is an essential guide to building new exchanges and connections in the dynamic worlds of African and global art.

"Our first encounter with these Tibetan medical paintings is filled with delight, wonder, and pleasure. Their boisterous colors, their exquisite detail, their marvelous array of subject matter, the often playful and energetic figures that people them - all these perceptions strike us at once. We are drawn to the paintings instantly but at the same time are beset with questions." - Janet Gyatso, from the Introduction The first full set of Tibetan medical paintings, or medical tangkas, were painted between 1687 and 1703 and were inspired by Sangye Gyatso, Regent of the Fifth Dalai Lama, who was a great patron of medical learning. In a beautiful and unique artistic style, the paintings illustrate Tibetan medical knowledge that drew on medical traditions from India, ancient Greece, Persia, pre-Buddhist Tibet, and China, while remaining firmly rooted in Buddhism. Copies of the iconic images have been created in meticulous detail through the centuries and Body and Spirit focuses on a set of contemporary paintings in the traditional technique by the Nepalese artist Romio Shrestha and his assistants in Kathmandu. The tangkas illuminate human anatomy and the causes and effects of illness, as well as their diagnosis and treatment. Most of the paintings consist of rows of small human figures, animals, plants, minerals, houses, landscapes, and demons and deities, depicting the rich complexity of human endeavor: farming, animal husbandry, personal hygiene, marriage, sex, birthing, fighting, sleeping, studying, and meditating. The thousands of small and large images were designed to add visual form to the technical information: an eye-pleasing teaching aid for medical students.

This book explores the Liturgy as the manifestation by cultic signs of Christian revelation, the 'setting' of the Liturgy in terms of architectural space, iconography and music, and the poetic response which the revelation the Liturgy carries can produce. The conclusion offers a synthetic statement of the unity of religion, cosmology and art. Aidan Nichols makes the case for Christianity's capacity to inspire high culture - both in principle and through well-chosen historical examples which draw on the best in Catholicism, Eastern Orthodoxy and Anglicanism.

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's first novel. Melissa McCormick provides a unique companion to Murasaki'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's colorful painting and calligraphy leaves are fully reproduced for the first time, followed by McCormick's insightful essays that analyze the Genji story and the album's unique combinations of word and image. This stunning compendium also includes English translations and Japanese transcriptions of the album'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'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's most celebrated work of fiction.

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 book is an attempt to make sense of what is the matter with humanity today. For the author and artist Kareline van der Burg 9-11 was a turning point and the inspiration of her artistic work. It made her think about Americas karma, the loss of the Indian Wisdom and the outright aggressiveness of America. Kareline realised that the western way of living is no longer the way forward. That inspired her to start studying the Indian culture and their love and feel for the unspoiled nature around them, seemingly unparalleled in history. Indians viewed their interaction with the animals and plants as important lessons to help them understand their own nature. As a result of Karelines inspiration, poetry and artwork, a rich illustrated art book was born: "A Time: All There is Matters Equally". A masterpiece with glossy pictures of painted drums and jewellery and a new calendar, which makes you think about our cosmic nature. A collection of new native art, like goat-skinned drums with oils, with feathers and shells. The 52 drums are accompanied by 365 sentences to announce a new mindset to honor Gaia. The book shows jewellery inspired by the Mayan Calendar, revealing the relationship between cosmic cycles and our body. A perfect gift for who loves art and the true spirit of nature.

This volume accompanies the international traveling exhibition FOOD, that focuses on the preservation of Earth and food choices, as well as the effects of climate change, the poisoning of agricultural products, the food distribution gap, famine and other related concerns. FOOD includes artworks by international artists exploring the question of food, a highly complex issue simultaneously dealing with survival, health, economy and culture.

Prior to widespread literacy, the Kiowa people recorded their history in pictorial calendars, marking an entry for each summer and each winter. "One Hundred Summers" presents a recently discovered calendar, created by the Kiowa master artist Silver Horn. Covering the period from 1828 to 1928, the pictures trace Kiowa experiences from buffalo to biplanes, from horse raiding to World War I service, offering an indigenous perspective on a critical period of Kiowa history. The calendar, now housed at the Sam Noble Oklahoma Museum of Natural History, is reproduced in full color in this book. Weaving together information from archival sources, community memories, and a close reading of the pictures themselves, Candace S. Greene frames and clarifies this uniquely Native American perspective on Southern Plains history during an era of great political, economic, and cultural pressures. A rare window on a century of Kiowa life, "One Hundred S"ummers is also an invaluable contribution to the indigenous history of North America. Beautifully produced with sixty-five color plates and twenty-five black & white images, this volume includes appendices featuring a wealth of unpublished primary source material on other Kiowa calendars and a glossary by a native Kiowa speaker.

Named after an archaeological site discovered in 1951 in Zhengzhou, China, the Erligang civilization arose in the Yellow River valley around the middle of the second millennium BCE. Shortly thereafter, its distinctive elite material culture spread to a large part of China's Central Plain, in the south reaching as far as the banks of the Yangzi River. The Erligang culture is best known for the remains of an immense walled city at Zhengzhou, a smaller site at Panlongcheng in Hubei, and a large-scale bronze industry of remarkable artistic and technological sophistication.

This richly illustrated book is the first in a western language devoted to the Erligang culture. It brings together scholars from a variety of disciplines, including art history and archaeology, to explore what is known about the culture and its spectacular bronze industry. The opening chapters introduce the history of the discovery of the culture and its most important archaeological sites. Subsequent essays address a variety of important methodological issues related to the study of Erligang, including how to define the culture, the usefulness of cross-cultural comparative study, and the difficulty of reconciling traditional Chinese historiography with archaeological discoveries. The book closes by examining the role the Erligang civilization played in the emergence of the first bronze-using societies in south China and the importance of bronze studies in the training of Chinese art historians.

The contributors are Robert Bagley, John Baines, Maggie Bickford, Rod Campbell, Li Yung-ti, Robin McNeal, Kyle Steinke, Wang Haicheng, and Zhang Changping.

A Comprehensive Guide to the Objects Associated with the Voyages of James Cook Held at New Zealands National Museum. Almost 250 years after James Cook first sighted Aotearoa New Zealand in October 1769, there is still world-wide interest in all aspects of his three voyages of exploration in the Pacific between 1768 and 1779: discovery (by Europeans), astronomy, natural science, and interactions with indigenous communities. For many people, the artificial curiosities -- works of human manufacture from exotic locations collected on these voyages by Cook himself and others on his ships,including super-numenaries and servants, have held a particular fascination. In this handsome book, widely respected Pacific scholar Janet Davidson details the collection of Maori, Pacific and Native American objects associated with the voyages held at the Museum of New Zealand Te Papa Tongarewa, one of the few significant institutional collections that have not been fully described until now. Richly illustrated and accessibly written, it is a treasure trove.

Germany developed a large colonial empire over the last thirty years of the 19th century, spanning regions of the west coast of Africa to its east coast and beyond. Largely forgotten for many years, recent intense debates about Africa's cultural heritage in European museums have brought this period of African and German history back into the spotlight. German Colonialism in Africa and its Legacies brings much-needed context to these debates, exploring perspectives on the architecture, art, urbanism, and visual culture of German colonialism in Africa, and its legacies in postcolonial and present-day Namibia, Cameroon, and Germany. The first in-depth exploration of the designed and visual aspects of German colonialism, the book presents a series of essays combining formal analyses of painting, photography, performance art, buildings, and space with the discourse analysis approach associated with postcolonial theory. Covering the entire period from the build-up to colonialism in the early-19th century to the present, subjects covered range from late-19th-century German colonial paintings of African landscapes and people to German land appropriation through planning and architectural mechanisms, and from indigenous African responses to colonial architecture, to explorations of the legacies of German colonialism by contemporary artists today. This powerful and revealing collection of essays will encourage new research on this under-explored topic, and demonstrate the importance of historical research to the present, especially with regards to ongoing debates about the presence of material legacies of colonialism in Western culture, museum collections, and immigration policies.

Historians have claimed that when social stability returned to Korea after devastating invasions by the Japanese and Manchus around the turn of the seventeenth century, the late Choson dynasty was a period of unprecedented economic and cultural renaissance, in which prosperity manifested itself in new programs and styles of visual art. A New Middle Kingdom questions this belief, claiming instead that true-view landscape and genre paintings were likely adopted to propagandize social harmony under Choson rule and to justify the status, wealth, and land grabs of the ruling class. This book also documents the popularity of art books from China and their misunderstanding by Koreans and, most controversially, Korean enthusiasm for artistic programs from Edo Japan, thus challenging academic stereotypes and nationalistic tendencies in the scholarship about the Choson period. As the first truly interdisciplinary study of Korean art, A New Middle Kingdom points to realities of late Choson society that its visual art seemed to hide and deny. A William Sangki and Nanhee Min Hahn Book

From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt's furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights--and their abuses--is also a richly illustrated one. Following this picture trail, "Human Rights In Camera" takes an innovative approach by examining the visual images that have accompanied human rights struggles and the passionate responses people have had to them.Sharon Sliwinski considers a series of historical events, including the 1755 Lisbon earthquake and the Holocaust, to illustrate that universal human rights have come to be imagined through aesthetic experience. The circulation of images of distant events, she argues, forms a virtual community between spectators and generates a sense of shared humanity. Joining a growing body of scholarship about the cultural forces at work in the construction of human rights, "Human Rights In Camera" is a novel take on this potent political ideal.

You can discover Japanese art like no other. Originally created by the artists of the ukiyo-e school of the floating world to advertise brothels in 17th-century Yoshiwara, these popular spring pictures (shunga) transcended class and gender in Japan for almost 300 years. These tender, humorous and brightly coloured pieces celebrate sexual pleasure in all its forms, culminating in the beautiful, yet graphic, work of iconic artists Utamaro, Hokusai and Kunisada. This catalogue of a major international exhibition aims to answer some key questions about what shunga is and why was it produced. Erotic Japanese art was heavily suppressed in Japan from the 1870s onwards as part of a process of cultural modernisation that imported many contemporary western moral values. Only in the last twenty years or so has it been possible to publish unexpurgated examples in Japan and this ground-breaking publication presents this fascinating art in its historical and cultural context for the first time. Within Japan, shunga has continued to influence modern forms of art, including manga, anime and Japanese tattoo art. Drawing on the latest scholarship and featuring over 400 images of works from major public and private collections, this landmark book sheds new light on this unique art form within Japanese social and cultural history. Shunga: sex and pleasure in Japanese art is published to accompany an exhibition at the British Museum from October 2013 to January 2014.

This study offers a new approach to the history of sites, archaeology, and heritage formation in Asia, at both the local and the trans-regional levels. Starting at Hindu-Buddhist, Chinese, Islamic, colonial, and prehistoric heritage sites in Indonesia, the focus is on people's encounters and the knowledge exchange taking place across colonial and post-colonial regimes. Objects are followed as they move from their site of origin to other locations, such as the Buddhist statues from Borobudur temple, that were gifted to King Chulalongkorn of Siam. The ways in which the meaning of these objects transformed as they moved away to other sites reveal their role in parallel processes of heritage formation outside Indonesia. Calling attention to the power of the material remains of the past, Marieke Bloembergen and Martijn Eickhoff explore questions of knowledge production, the relationship between heritage and violence, and the role of sites and objects in the creation of national histories.