Utagawa Hiroshige (1797-1858) is one of the best known of all Japanese woodblock print designers. He is particularly renowned for his landscape prints, which are among the most frequently reproduced of all Japanese works of art. Hiroshige's landscape prints were hugely successful both in Japan and in the West. Their unusual compositions, humorous depictions of people involved in everyday activities and masterly expression of weather, light and seasons, proved enormously influential on many leading European artists. Aimed at a general audience, this book illustrates and discusses 53 Hiroshige landscape prints in the Ashmolean Museum's collection and explores their historical background. It gives a concise introduction to Hiroshige's life and career within the context of Japan's booming nineteenth-century woodblock print industry and explores the development of the landscape print as a new genre in this period. It also discusses and illustrates the process and techniques of traditional Japanese woodblock print-making.

Praise for the companion title "Encyclopedia of Native Tribes of North America" by Michael Johnson:
""This substantial reference remains one of the most elaborately illustrated books on Native Americans now in print. . . . Highly recommended for North American historical and ethnographical collections.""
-- Library Journal

"Arts and Crafts of the Native American Tribes" is an authoritative illustrated reference that has been carefully created to be a companion to "Encyclopedia of Native Tribes of North America," not a competitive title. It examines in detail how Native American culture evolved and considers the regional similarities and differences of the arts and crafts created by tribes across the continent. Contemporary and modern photographs, fine line illustrations and step-by-step reconstructions (including a Plains Indian warrior dress with headdress, war bonnet, shirt and leggings) show the techniques of manufacture and display the skill and artistry of the crafters.

The book opens with concise coverage of the main cultural areas of North America and a survey of styles by region and over time. A major section on the living structures -- huts, tipis, igloos, etc. -- is followed by an analysis of individual crafts. These include: Baskets -- plaiting, twining, coiling Bone, antler and horn -- implements, tools, pins, fishhooks Decorative arts -- beadwork, porcupine quillwork Featherwork -- bonnets and headdresses Metalwork -- copper, silver, iron, gold Pottery Shellwork Skinwork -- rawhide, leather, furs Stonework -- arrowheads, pipes, art Textiles -- spinning, weaving Woodwork -- totems, figures, masks, utensils, working with bark.

"Arts and Crafts of the Native American Tribes" is destined to be a primary reference used by ethnographers, historians and collectors for years to come. It is essential for any library serving academic patrons.

In the six essays of this book, Ksana Blank examines affinities among works of nineteenth and twentieth-century Russian literature and their connections to the visual arts and music. Blank demonstrates that the borders of authorial creativity are not stable and absolute, that talented artists often transcend the classifications and paradigms established by critics. Featured in the volume are works by Alexander Pushkin, Fyodor Dostoevsky, Leo Tolstoy, Vladimir Nabokov, Daniil Kharms, Kazimir Malevich, Mstislav Dobuzhinsky, and Dmitri Shostakovich.

Drawing attention to the ways in which creative practices are essential to the health, well-being, and healing of Indigenous peoples, The Arts of Indigenous Health and Well-Being addresses the effects of artistic endeavour on the "good life", or mino-pimatisiwin in Cree, which can be described as the balanced interconnection of physical, emotional, spiritual, and mental well-being. In this interdisciplinary collection, Indigenous knowledges inform an approach to health as a wider set of relations that are central to well-being, wherein artistic expression furthers cultural continuity and resilience, community connection, and kinship to push back against forces of fracture and disruption imposed by colonialism. The need for healing-not only individuals but health systems and practices-is clear, especially as the trauma of colonialism is continually revealed and perpetuated within health systems. The field of Indigenous health has recently begun to recognize the fundamental connection between creative expression and well-being. This book brings together scholarship by humanities scholars, social scientists, artists, and those holding experiential knowledge from across Turtle Island to add urgently needed perspectives to this conversation. Contributors embrace a diverse range of research methods, including community-engaged scholarship with Indigenous youth, artists, Elders, and language keepers. The Arts of Indigenous Health and Well-Being demonstrates the healing possibilities of Indigenous works of art, literature, film, and music from a diversity of Indigenous peoples and arts traditions. This book will resonate with health practitioners, community members, and any who recognize the power of art as a window, an entryway to access a healthy and good life.

The Unicorn Incorporated celebrates the work and career of Seattle artist Curtis R. Barnes. For over five decades, Barnes has worked as an artist, illustrator, muralist, and community advocate. In his sculpture, painting, and drawing, he employs imagery derived from his vast experience, mystical erudition, and heritage. Throughout the 1960s, '70s, and '80s, he produced searing social commentary in pen and ink, drawings that are as prescient and powerful today as they were then. The publication includes a poem by renowned musician Ishmael Butler, an extended interview with the artist, and an essay by Jo-Anne Birnie Danzker on the legendary Omowale mural.

The emergence of bronze ware forms a crucial chapter in the history of human civilization. Although not the first country to enter the Bronze Age, China enjoys a unique position in world history because of the great variety of innovative and beautiful bronze ware that has been unearthed on China's vast territory. These artifacts provide a window into the art and culture of ancient China. Chinese Bronze Ware introduces the reader to this magnificent culture with thorough discussion of the context and significance of bronze production, vivid descriptions and full-color illustrations.

In this beautifully illustrated overview, Renee Worringer provides a clear and comprehensive account of the longevity, pragmatism, and flexibility of the Ottoman Empire in governing over vast territories and diverse peoples. A Short History of the Ottoman Empire uses clear headings, themes, text boxes, primary source translations, and maps to assist students in understanding the Empire's complex history.

Completing the two-volume set, Souls Grown Deep, Vol. 2 takes the visual and historical presentation of the first volume to a richer level, offering an even broader array of artistic styles and media.

Published in 2000, the first volume explored the diverse historical roots of the genre and introduced artists whose work recalled the South of the pre-civil rights era. This sequel brings the movement into the present, delving into the work of the current generation of artists who are creating a complex form of art that blurs the boundaries between folk and contemporary art.

From precious jade articles to monumental stone arches, Huizhou salt merchants in Jiangnan lived surrounded by objects in eighteenth-century China. How and why did these businessmen devote themselves to these items? What can we learn about eighteenth-century China by examining the relationship between merchants and objects? Luxurious Networks examines Huizhou salt merchants in the material world of High Qing China to reveal a dynamic interaction between people and objects. The Qianlong emperor purposely used objects to expand his influence in economic and cultural fields. Thanks to their broad networks, outstanding managerial skills, and abundant financial resources, these salt merchants were ideal agents for selecting and producing objects for imperial use. In contrast to the typical caricature of merchants as mimics of the literati, these wealthy businessmen became respected individuals who played a crucial role in the political, economic, social, and cultural world of eighteenth-century China. Their life experiences illustrate the dynamic relationship between the Manchu and Han, central and local, and humans and objects in Chinese history.

Hiroshige (1797-1858), Japanese painter and printmaker, is known especially for his landscape prints. The last great figure of the popular ukiyo-e school of printmaking, he transmuted everyday landscapes into intimate, lyrical scenes. With Hokusai, Hiroshige dominated the popular art of Japan in the first half of the nineteenth century. He captured, in a poetic, gentle way that all could understand, the ordinary person's experience of the Japanese landscape, as well as the varied moods of memorable places at different times. His total output was immense, some 5400 prints in all. Ukiyo-e publishing was not a cultural institution subsidized by public funds, but rather a commercial business. During his lifetime, Hiroshige was well known and commercially successful. But the Japanese society did not take too much notice of him. His real reputation started with his discovery in Europe. This beautiful book, published on the occasion of a major exhibition in Rome, examines various aspects of Hiroshige's oeuvre and reproduces in color some two hundred of his prints. The comprehensive text examines his life and achievement as well as his masterwork, and explains the particular qualities that make Hiroshige such an essential artist.

Art and science – they may seem like opposites, but throughout history there have been visionaries who have brought together these contrasting subjects. The Art of Science explores the work of 40 such artists and artist-scientists, uncovering how these innovators have designed futuristic technology centuries ahead of its time, investigated time and space through abstract art, and created sculpture informed by NASA technology. An expertly curated selection of artists from many different cultures and eras – including Huang Quan, Leonardo da Vinci, Johannes Vermeer, Anna Atkins, Olafur Eliasson and Anicka Yi – this book tells the story of the vital partnership between art and science, with over 200 lavish illustrations.

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.

From approximately the third century BCE through the thirteenth century CE, the remote mountainous landscape around the glacial sources of the Ganga (Ganges) River in the Central Himalayas in northern India was transformed into a region encoded with deep meaning, one approached by millions of Hindus as a primary locus of pilgrimage. Nachiket Chanchani's innovative study explores scores of stone edifices and steles that were erected in this landscape. Through their forms, locations, interactions with the natural environment, and sociopolitical context, these lithic ensembles evoked legendary worlds, embedded historical memories in the topography, changed the mountain range's appearance, and shifted its semiotic effect. Mountain Temples and Temple Mountains also alters our understanding of the transmission of architectural knowledge and provides new evidence of how an enduring idea of India emerged in the subcontinent. Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/mountain-temples-and-temple-mountains

Moving the Museum documents the reopening of the J. S. McLean Centre for Indigenous & Canadian Art with a renewed focus on the AGO's Indigenous art collection. The volume reflects the nation-to-nation treaty relationship that is the foundation of Canada, asking questions, discovering truths, and leading conversations that address the weight of history and colonialism. Lavishly illustrated with more than 100 reproductions, Moving the Museum: Indigenous + Canadian Art at the AGO features the work of First Nations artists -- including Carl Beam, Rebecca Belmore, and Kent Monkman -- along with work by Inuit artists like Shuvinai Ashoona and Annie Pootoogook. Canadian artists include Lawren Harris, Kazuo Nakamura, Joyce Wieland, and many others. Drawing from stories about our origins and identities, the featured artists and essayists invite readers to engage with issues of land, water, transformation, and sovereignty and to contemplate the historic and future representation of Indigenous and Canadian art in museums.

A free open access ebook is available upon publication. Learn more at www.luminosoa.org. From fashion sketches of smartly dressed Shanghai dandies in the 1920s, to multipanel drawings of refugee urbanites during the war against Japan, to panoramic pictures of anti-American propaganda rallies in the early 1950s, the polymorphic cartoon-style art known as manhua helped define China's modern experience. Manhua Modernity offers a richly illustrated, deeply contextualized analysis of these illustrations across the lively pages of popular pictorial magazines that entertained, informed, and mobilized a nation through a half century of political and cultural transformation. In this compelling media history, John Crespi argues that manhua must be understood in the context of the pictorial magazines that hosted them, and in turn these magazines must be seen as important mediators of the modern urban experience. Even as times changed-from interwar-era consumerism to war-time mobilization to Mao-style propaganda-the art form adapted to stay on the cutting edge of both politics and style.

A delightful gift book, celebrating the dogs in Tate's collection Following Tate's recent publication Love, this new selection of works showcases the most endearing, thoughtful, and amusing depictions of dogs drawn from Tate's collection. Divided into key themes--"Hounds of the Hunt," "Painterly Pooches," "Princely Pups," "Man's Best Friend," "Moping Mutts," "Working Like a Dog," "Lap Dogs at Leisure," "Mystical Mutts," and "Loyal Fido"--this little book considers how dogs have been the animal companion of choice for millennia and how their position as hunter, signifier of status, and friend has influenced artists. Works of art--including paintings, drawings, sculptures, illustrations, and installations--are introduced by a brief introduction text at the beginning of the chapter, adding background detail or additional information about the art, artists, and their subjects. Featured artists include: Edwin Henry Landseer, Sidney Nolan, Chris Killip, Giacomo Amiconi, Hamo Thornycroft, William Hogarth, Joshua Reynolds, Cedric Morris, Peter Doig, and Edward Ruscha. Sometimes traditional, sometimes contemporary, often touching and occasionally telling, placed together these beautiful images create a fascinating and enlightening journey through the visual portrayal of canines in Western art.

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.

Francis H Harlow (1928-present) is a world class physicist, an expert on Pueblo Indian pottery and Southwest sea fossils, an accomplished painter and cellist. In this memoir, the retired Los Alamos scientist and scholar looks back on his life and career, including his fifty years as a theoretical physicist at one of the U.S.'s top research facilities. He considers his study of Pueblo pottery a "hobby", though it draws on archaeology, history and ethnography, as well as interactions and interviews with living and deceased potters (including Maria Martinez). This book highlights the Museum of Indian Art (Santa Fe) Harlow Pottery Collection.

The ""blk alter"" of Avery R. Young's poetic vision makes its stunning debut in a multidisciplinary arsenal entitled, neckbone: visual verses. Young's years of supernatural fieldwork within the black experience and the gospel of his transitions between poetry, art and music, become the stitch, paint brush, metaphor, and narrative of arresting visual metaphors of childhood teachings and traumas, identity, and the personal reverence of pop culture's beauty and beast. A mastermind in a new language of poetry, that engages and challenges readers to see beyond the traditional spaces poems are shaped and exist, Young's neckbone extends tentacles in literature, art, and activism-redefining the collective and the sermon of the ""blk"" experience.

Challenging cliches of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s. Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through three revealing artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle's Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed's analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity.

Focusing on 5 objects found in the main media at the time - ceramics, metalware, painting, architecture and textiles - Sheila S. Blair shows how artisans played with form, material and decoration to engage their audiences. She also shows how the reception of these objects has changed and that their present context has implications for our understanding of the past. Greater Iranian arts from the 10th to the 16th century are technically some of the finest produced anywhere. They are also intellectually engaging, showing the lively interaction between the verbal and the visual arts.