"Weaver's Stories from Island Southeast Asia" delves into the personal stories of individual textile artists, bringing recognition to their accomplishments, skills, and extraordinary lives. Photographs of ten women from eight locations in the Southeast Asian archipelago along with examples of their weaving are accompanied by a DVD showing them at work.

The book is part of a project to bring stories from the lives of Southeast Asian weavers and batik makers to an American audience, using video as the main component. Although the makers of textiles are generally not named in American museum collections, the creation of textiles is not anonymous in Southeast Asian communities. Senior artists are held in public esteem, and the cloth they produce is instantly recognizable to local people as their unique product.

Roy W. Hamilton is senior curator for Asian and Pacific collections at the Fowler Museum at UCLA. Other contributors include Jill Forshee, Traude Gavin, and Cherubim A. Quizon.

Despite political upheavals under Muslim domination in the Middle Ages, Palestine was a center of great artistic activity recognized for its incredible dynamism. Its unique contribution to the Islamic "macrocosm," however, never became the subject of extensive study. Numerous archeological excavations on this relatively small geographic area reveal the existence of extremely well preserved monuments of high architectural quality and exceptional religious value. This is what Myriam Rosen-Ayalon exposes in this thorough introduction to Palestinian Islamic art and archeology. In chronological order she presents here for the first time the multifaceted and long-lasting achievements of Islamic art in Palestine, filling the gap of years of neglect on the subject.

Despite political upheavals under Muslim domination in the Middle Ages, Palestine was a center of great artistic activity recognized for its incredible dynamism. Its unique contribution to the Islamic "macrocosm," however, never became the subject of extensive study. Numerous archeological excavations on this relatively small geographic area reveal the existence of extremely well preserved monuments of high architectural quality and exceptional religious value. This is what Myriam Rosen-Ayalon exposes in this thorough introduction to Palestinian Islamic art and archeology. In chronological order she presents here for the first time the multifaceted and long-lasting achievements of Islamic art in Palestine, filling the gap of years of neglect on the subject.

Bringing together more than 100 items of clothing, this book reveals the intricacies of Japanese dress from the 18th century to the present. Including garments for women, men and children, the details have been selected both for their exquisite beauty and craftsmanship, and for how much they impart about the wearer's identity, be it age, status or taste. A comprehensive introduction, illuminating the main periods and key themes of Japanese fashion history, is followed by thematic chapters that cover all aspects of clothing, from hair accessories and necklines to hemlines and shoes. Each garment or object is accompanied by a short text exploring its structure and the fascinating range of decorative techniques employed, including embroidery, weaving, lacquering, stencilling, dyeing and digital technology. Specially commissioned detail photography and line drawings provide an invaluable resource for Japanophiles, students, collectors, designers and lovers of fashion and world dress.

This volume deals with the formative period of Islamic art (to c. 950), and the different approaches to studying it. Individual essays deal with architecture, ceramics, coins, textiles, and manuscripts, as well as with such broad questions as the supposed prohibition of images, and the relationships between sacred and secular art. An introductory essay sets each work in context; it is complemented by a bibliography for further reading.

A look at the painting traditions of northwestern India in the eighteenth century, and what they reveal about the political and artistic changes of the era In the long eighteenth century, artists from Udaipur, a city of lakes in northwestern India, specialized in depicting the vivid sensory ambience of its historic palaces, reservoirs, temples, bazaars, and durbars. As Mughal imperial authority weakened by the late 1600s and the British colonial economy became paramount by the 1830s, new patrons and mobile professionals reshaped urban cultures and artistic genres across early modern India. The Place of Many Moods explores how Udaipur's artworks-monumental court paintings, royal portraits, Jain letter scrolls, devotional manuscripts, cartographic artifacts, and architectural drawings-represent the period's major aesthetic, intellectual, and political shifts. Dipti Khera shows that these immersive objects powerfully convey the bhava-the feel, emotion, and mood-of specific places, revealing visions of pleasure, plenitude, and praise. These memorialized moods confront the ways colonial histories have recounted Oriental decadence, shaping how a culture and time are perceived. Illuminating the close relationship between painting and poetry, and the ties among art, architecture, literature, politics, ecology, trade, and religion, Khera examines how Udaipur's painters aesthetically enticed audiences of courtly connoisseurs, itinerant monks, and mercantile collectives to forge bonds of belonging to real locales in the present and to long for idealized futures. Their pioneering pictures sought to stir such emotions as love, awe, abundance, and wonder, emphasizing the senses, spaces, and sociability essential to the efficacy of objects and expressions of territoriality. The Place of Many Moods uncovers an influential creative legacy of evocative beauty that raises broader questions about how emotions and artifacts operate in constituting history and subjectivity, politics and place.

Japanese woodblock prints of the Edo period (1615-1868) were the products of a highly commercialised and competitive publishing industry. Their content was inspired by the vibrant popular culture that flourished in Edo (Tokyo). At any given time scores of publishers competed for the services of the leading artists of the day. Publishers and artists displayed tremendous ingenuity in finding ways to sustain demand for prints and to to circumvent the restrictions placed upon them by government censorship. Japanese woodblock prints have long been appreciated in the West for their graphic qualities but their content has not always been fully understood. In recent years, publications by scholars in Japan, Europe and the United States have made possible a more subtle appreciation of the imagery encountered in them. This book draws upon this recent scholarship to explain how those who first purchased these prints would have read them. Through stunning new photography of both well-known and rarely published works in the collection of the British Museum, including many recent acquisitions, the author explores how and why such prints were made, providing a fascinating introduction to a much-loved but little-understood art form.

Tierdarstellungen finden sich auf der Bewaffnung, auf Geraten, auf der Bekleidung, sogar auf dem menschlichen Koerper selbst, als Tatowierungen. Sie treten zahlreich auf und dennoch erzahlen sie nur von ganz bestimmten Geschichten. Im 1. Jahrtausend v. Chr. beherrschten die Kulturguppen skythenzeitlicher Reiternomaden den eurasischen Steppengurtel vom Nordschwarzmeergebiet bis zu den westlichen Auslaufern der Mongolei. Die vielfach uberlieferten mobilen Objekte sind durch den skythisch-sibirischen Tierstil gekennzeichnet. Er gibt Einblick in die geistig-religioese Vorstellungswelt jener Menschen der Eisenzeit in diesem spezifischen Raum. Die vorliegende Publikation beantwortet Fragen nach der Bedeutung und den Geschichten, die die Darstellungen kennzeichnen.

This book tells the story of how and why millions of Chinese works of art got exported to collectors and institutions in the West, in particular to the United States. As China's last dynasty was weakening and collapsing from 1860 into the early years of the twentieth century, China's internal chaos allowed imperial and private Chinese collections to be scattered, looted and sold. A remarkable and varied group of Westerners entered the country, had their eyes opened to centuries of Chinese creativity and gathered up paintings, bronzes and ceramics, as well as sculptures, jades and bronzes. The migration to America and Europe of China's art is one of the greatest outflows of a culture's artistic heritage in human history. A good deal of the art procured by collectors and dealers, some famous and others little known but all remarkable in individual ways, eventually wound up in American and European museums. Today some of the art still in private hands is returning to China via international auctions and aggressive purchases by Chinese millionaires.

Facing China is an exploration of the portrait arts in China from the dynastic to the modern and contemporary, in painting, sculpture, photography and video. The book focuses on truth and memory in the portraiture process, from encounters between subject, portrait and artist, to broader familial, social and political arenas. It also examines the influence of location on portrait production, reception and display, from tombs, ancestral shrines, temples, gardens, and palace halls to public and private spaces. Featuring 150 fine illustrations, with 100 in colour, Facing China has much to say to specialists in the field as well as general readers interested in Chinese art.

In the 1890s, the Danish lieutenant Ole Olufsen set out to lead two expeditions to Tsarist Central Asia. Exploring areas that were still blank on European and Russian maps, the participants spent more than a year traveling on horseback in the pamirs and adjacent valleys bordering Afghanistan, China, and British India. Esther Fihl offers an in-depth study of these Danish expeditions and presents the magnificent collection of objects brought back to the National Museum of Denmark. Drawing on diaries, reports, and published works and a scrutiny of the guiding principles for their collecting of objects, she demonstrates how these explorers portrayed the cultures encountered. This work is a treasure for anyone interested in Central Asia, early anthropological theory, material culture, or European travel literature. They lived with Kyrgyz nomads who carved out an existence for themselves above the tree line with their sheep, goats, and yaks. Traveling along the river Pandsh, they were the first Europeans to collect ethnographical information on the transhumant pastoralists in the elevated valleys bordering Afghanistan. On the steppes of the western lowlands, the Danish expeditions stopped in Samarkand, Khiva, and Bukhara, commercial hubs on the old Silk Road. As official guests of both the emir of Bukhara and the khan of Khiva, they studied the handicrafts of the bazaars and the irrigation agriculture practiced by the Tajiks and Uzbeks. On visits to Merv they also spent time with Turkmen nomadic tribes who had only recently been fighting the Russian colonial power.

For at least 150 years, Thomas Chippendale has been synonymous with beautifully made eighteenth-century furniture in a variety of styles - Rococo, Chinese, Gothic and Neoclassical. Born in Otley, Yorkshire, in 1718, Chippendale rose to fame because of his revolutionary design book, The Gentleman and Cabinet Maker's Director, published in 1754. That same year he set up his famous workshops in St Martin's Lane, creating some of the most magnificent furniture ever made in Britain. This beautifully illustrated history focuses on Britain's most famous furniture maker and designer, including the worldwide phenomenon 'Chippendale style' that became popular in Europe, North America and Asia after his death in 1779. Today, his influence lives on with the ongoing production of 'Chippendale' furniture, while the eighteenth-century originals are selling for millions at auction.

All of the beautiful American Indian jewelry shown in this book was actually for sale when the photographs were taken with the prices and ranges noted with each caption. Therefore, it will be useful to all enthusiasts of Indian arts, because it shows hundreds of pieces that are really available on today's marketplace. The 336 beautiful color photographs demonstrate the excellent craftsmanship in the jewelry and the text presents the variations of style to be exciting. Collectors, dealers, historians and travelers to the Southwest all will enjoy the concise and informative text and visual pleasure this book presents.

Beautifully illustrated with an array of Japanese art, this book offers a closer look at the rich variety of styles, decoration, motifs and patterns - and the sheer craftsmanship - of Japanese culture. Opening with an introduction that asks 'What is Japanese art?', this book presents a selection of striking and fascinating art from Japan, organised into a series of thematic chapters in which the author provides cultural context while pointing out exceptional features. By showing the complete artwork alongside enlarged details - sometimes virtually invisible to the naked eye - intriguing comparisons can be drawn between seemingly unrelated pieces. The selection of illustrations evokes the hand and eye of the most accomplished Japanese craftsmen and women past and present. Offering a superb insight into a wide array of Japanese art, the book highlights - close up and in colour - outstanding examples of design and craft in prints, paintings and screens, metalwork, ceramics, wood, stone and lacquer and will provide endless creative inspiration.

Conceptualizes "graft"- the violent and creative processes of suturing arts as a method of empire building in western eighteenth-century India Grafted Arts focuses on Maratha military rulers and British East India Company officials who used the arts to engage in diplomacy, wage war, compete for prestige, and generate devotion as they allied with (or fought against) each other to control western India in the eighteenth century. This book conceptualizes the artistic combinations that resulted as ones of "graft"-a term that acknowledges the violent and creative processes of suturing arts, and losing and gaining goods, as well as the shifting dynamics among agents who assembled such materials. By tracing grafted arts from multiple perspectives-Maratha and British, artist and patron, soldier and collector-this book charts the methods of empire-building that recast artistic production and collection in western India and from there across India and in Britain. This mercenary method of artistry propagated mixed, fractured, and plundered arts. Indeed, these "grafted arts"-disseminated across India and Britain over the nineteenth century to aid in consolidating empire or revolting against it entirely-remain instigators of nationalist agitation today. Distributed for the Paul Mellon Centre for Studies in British Art

In 1923, French artist Andre Joyeux published a visually stunning, limited edition homage to Indochina in memory of his friend, Pierre Rey, who was killed in action during WWI. His concept revolved around French sonnets by Rey (nom de plume of Capitaine Paul Philibert Regnier) that Joyeux brought to life with 33 original watercolors. Former Governor-General of French Indochina, Albert Sarraut, contributed the Foreword to this artistically rare vision of the land, customs and people of Southeast Asia. In this modern, full-color hardcover edition, graphic designer Rebecca Klein hand-retouched each of Joyeux's original watercolors, adapting their elements to fit this larger format. To introduce this important French Colonial work to new audiences, an English language translation of M. Albert Sarraut's foreword is provided, with a biographical profile of both artists in a preface by researcher Joel Montague.

Up in Flames is the first comprehensive study of the traditional Chinese craft of paper sculpture: the construction in bamboo and paper of human figures, figures of gods, buildings, and other objects-- all intended to be ritually burned. The book documents this ancient craft as it exists today in Taiwan. The fascinating fundamentals of the craft, the tools and materials, as well as the techniques used to construct houses and human figures, never investigated before, are described and illustrated in detail. The written material is augmented by many color photographs showing the objects and the men and women who make them.
Although the tradition of burning objects as a part of religious ceremonies is still strong, the traditional paper and bamboo objects are being more and more often replaced by plastic components and whole preprinted cardboard counterparts. The resulting changes in the personal, business, and especially the creative and artistic side of the craft are therefore also addressed.

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.

In this magnificent, lavishly illustrated book, renowned art historian B. N. Goswamy opens readers' eyes to the wonders of Indian painting, and shows them new ways of seeing art. An illuminating introductory essay, `A Layered World', explains the themes and emotions that inspired famous painters, the values and influences that shaped their work, and the unique ways in which they depicted Time and Space. It describes, too, the different regional styles, the relationship between patrons and painters, the tools and techniques the painters used and the milieu in which they created their works. The second part of this book, `Close Encounters with 101 Works', presents paintings carefully selected by Professor Goswamy, spanning nearly a thousand years and ranging from Jain manuscripts and Rajasthani, Mughal, Pahari and Deccani miniatures, to Company School paintings. His description and analysis of these works unlock the treasures that lie within them and show us how to `read' each painting as he pours out its finest features, explains its visual vocabulary and symbolism, and recounts the story, legend or event that inspired it. Combining deep scholarship with great storytelling, this is a book of enduring value that will both educate and delight the reader.

Tantra: enlightenment to revolution explores the radical philosophy that transformed the religious, cultural and political landscape of India and beyond. Originating in early medieval India, Tantra has been linked to successive waves of revolutionary thought - from its 6th-century transformation of Hinduism and Buddhism to the Indian fight for independence and the global rise of 1960s counterculture. Centring on the power of divine feminine energy, Tantra inspired the dramatic rise of goddess worship in medieval India and has gone on to influence contemporary feminist thought and artistic practice. Presenting masterpieces of sculpture, painting, prints and ritual objects from India, Pakistan, Bangladesh, Nepal, Tibet, Japan, the UK and the USA, this publication offers new insights into a philosophy that has captured our imagination for more than a millennium.