The Arts and Crafts of the Hunza Valley in Pakistan is a thorough ethnographic field research conducted over a period of twenty years. It is augmented by the author's selection of photographs which add depth to the study by providing a frame of reference for the wide array of crafts and lifestyles that existed and continue to flourish in the area. He delves into the variations of art fostered in the Valley, from woodwork to embroidery, by taking into account the geographical and historical links to Central Asia and Kashmir, hence, exploring the amalgamation of cultures that enrich the work. The author has systematically carried out studies of locals from all walks of life. His interviews of master craftspeople, which are on the verge of disappearing along with the correct indigenous terminology, help enhance the distinct cultures of that region. is book is an important reference material for those who are interested in understanding the Hunza region, its people, and its arts and crafts.

Innovative artists in 1960s Japan who made art in the "wilderness"-away from Tokyo, outside traditional norms, and with little institutional support-with global resonances. 1960s Japan was one of the world's major frontiers of vanguard art. As Japanese artists developed diverse practices parallel to, and sometimes antecedent to, their Western counterparts, they found themselves in a new reality of "international contemporaneity" (kokusaiteki dojisei). In this book Reiko Tomii examines three key figures in Japanese art of the 1960s who made radical and inventive art in the "wilderness"-away from Tokyo, outside traditional norms, and with little institutional support. These practitioners are the conceptualist Matsuzawa Yutaka, known for the principle of "vanishing of matter" and the practice of "meditative visualization" (kannen); The Play, a collective of "Happeners"; and the local collective GUN (Group Ultra Niigata). The innovative work of these artists included a visionary exhibition in Central Japan of "formless emissions" organized by Matsuzwa; the launching of a huge fiberglass egg-"an image of liberation"-from the southernmost tip of Japan's main island by The Play; and gorgeous color field abstractions painted by GUN on accumulating snow on the riverbeds of the Shinano River. Pioneers in conceptualism, performance art, land art, mail art, and political art, these artists delved into the local and achieved global relevance. Making "connections" and finding "resonances" between these three practitioners and artists elsewhere, Tomii links their local practices to the global narrative and illuminates the fundamentally "similar yet dissimilar" characteristics of their work. In her reading, Japan becomes a paradigmatic site of world art history, on the periphery but asserting its place through hard-won international contemporaneity.

A guide to the history and enjoyment of Chinese and Japanese calligraphy that offers the possibility of appreciating it in a hands-on way--with step-by-step instructions for brushing 150 classic characters. This book is a comprehensive and accessible introduction to the history and art of calligraphy as it's been practiced for centuries in China, Japan, and elsewhere in Asia. It works as a guide for the beginner hoping to develop an appreciation for Asian calligraphy, for the person who wants to give calligraphy-creation a try, as well as for the expert or afficionado who just wants to browse through and exult in lovely examples. It covers the history and development of the art, then the author invites the reader to give it a try.      The heart of the book, called "Master Samples and Study," presents 150 characters--from "action" to "zen"--each in a two-page spread. On each verso page the character is presented in three different styles, each one chosen for its beauty and identified by artist when possible. The character's meaning, pronunciation (in Chinese, Japanese, Korean, and Vietnamese), etymology, the pictograph from which it evolved, and other notes of interest are included. At the bottom of the page the stroke order is shown: the sequence of brush movements, numbered in their traditional order. On each facing recto page is Kaz's own interpretation of the character, full page.

Sulat ng Kaluluwa (Writing of the Soul) is the 2nd book by Ancient Philippine Calligraphy (Baybayin) Artist, Kristian Kabuay. The book features over 50 images of artwork and accompanying stories written by people from around the world. The concept was for each person to provide a word or name and write what it means to them. From the word and story, Kristian created the art. Baybayin is a writing system from the Philippines that's no longer in regular use. There are only 3 remaining tribes that still use it.

An essential guide for anyone interested in contemporary Japanese art, "Melting Standard: New Shift in Japanese Art" is a publication series designed to showcase works by new and emerging Japanese artists living and working both in Japan and abroad. featured artists: Satoshi Hoshi, Kei Imazu, Keiko Kamata, Teppei Kaneuji, Kengo Kito, Kazuma Koike, Jiro Konami, Taisuke Morohoshi, Goro Murayama, Shutaro Nagano, Yoko Naito, Ryuta Nakajima, Maki Ohkojima, Takako Okumura, Soichiro Uchiyama, Daisuke Yokota.

The Taotie Image in Chinese Art, Culture, and Cosmology. The taotie, also known as the "beast mask," is the most distinctive feature of Shang dynasty art. It is a fascinating motif in Chinese art and, for centuries, has inspired curiosity as to its meaning. In this book, cultural scholar, Dave Alber, explores the many meanings of the taotie image. What was the meaning of the taotie among traditional Chinese art historians? What is the taotie's influence in Chinese art history? What is the most probable cultural origin of the taotie? What function did the taotie image serve in Shang dynasty cosmology and psychology? What is the Pan-Asian diffusion of the original motif? How does this art motif enrich our experience of Chinese architecture, history, and contemporary music? Dave Alber, MA originally presented the content of this book as a lecture at Henan Polytechnic University (HPU) in Mainland China. The Taotie Image in Chinese Art, Culture, and Cosmology is written in dual-language English and Chinese. Thus, it is a great tool for learning either English or Traditional Chinese. With almost one hundred photographs from Dave Alber's travels in China and Asia, it is also an ideal book for studying Chinese and Pan-Asian art.