Sixteenth-century wall paintings in a Buddhist temple in the Tibetan cultural zone of northwest India are the focus of this innovative and richly illustrated study. Initially shaped by one set of religious beliefs, the paintings have since been reinterpreted and retraced by a later Buddhist community, subsumed within its religious framework and communal memory. Melissa Kerin traces the devotional, political, and artistic histories that have influenced the paintings' production and reception over the centuries of their use. Her interdisciplinary approach combines art historical methods with inscriptional translation, ethnographic documentation, and theoretical inquiry to understand religious images in context.

Square meters of empty toothpaste tubes and bottles of cleaning solution, pencils, balls of wool, or shoes—all of it in neat rows: Waste not, the spectacular installation by Song Dong (*1966) comprising more than ten thousand individual items, traveled around the whole world, inspiriting countless exhibition visitors. The artist’s mother fell into poverty during the Cultural Revolution and compulsively collected everyday objects. The installation arranges everything she accumulated, cataloguing and documenting her life.This is the first volume to provide insight into all of the series of works by the Conceptual artist in which he deals with issues such as consumption, sustainability, memory, or spirituality. Song Dong arranges old doors and windows from demolished buildings to create new living spaces. In Doing Nothing Garden at documenta 12, he transformed a mountain of garbage into an attractive recreation area, or he recreates modern cityscapes out of candy: Eating the City —unhealthy, but yummy. Taking a bite is allowed! Exhibitions: Groninger Museum, Netherlands, 13.6. – 1.11.2015 | Kunsthalle Düsseldorf, 5.12.2015 – 6.3.2016

"Impressive, exhaustive, labyrinthine, and obsessive--"The Anime Encyclopedia" is an astonishing piece of work."--Neil Gaiman

Over one thousand new entries . . . over four thousand updates . . . over one million words. . .

This third edition of the landmark reference work has six additional years of information on Japanese animation, its practitioners and products, plus incisive thematic entries on anime history and culture. With credits, links, cross-references, and content advisories for parents and libraries.

Watch for the e-book edition in December 2014, ISBN 9781611729092, $24.95

Jonathan Clements has been an editor of "Manga Max" and a contributing editor of "Newtype USA."

Helen McCarthy was founding editor of "Anime UK" and editor of "Manga Mania."

In this generously illustrated volume, the distinguished teacher, author, and critic Joyce Brodsky brings together works by the expatriate Chinese painter Yun Gee and his Chinese American daughter, Li-lan, exploring connections between each artist's life and paintings. Yun Gee (1906-1963) was born in China, emigrated as a young man to San Francisco, and after living there and in Paris, spent the latter part of his life in New York City. Li-lan was born in New York to Yun Gee and Helen Wimmer Gee. She still lives and works in and near the city of her birth but has also spent long periods in Japan and more recently in China. Father and daughter alike exemplify the desire to live and work in freedom from the restrictions of national identity, a choice that permits openness to different cultures. For Yun Gee and Li-lan, this openness was never a reflection of trends in the art world but was an element of life itself, fully embraced and therefore embodied in each artist's paintings. Both artists can be understood as cosmopolitan and transnational figures - citizens, in Homi Bhabha's terms, of contemporary culture's "middle passage." This book, then, although not primarily theoretical, is informed by ideas of hybridity, transnationalism, and cosmopolitanism. As artists who have embraced multinational, multicultural, and multiracial experiences, Yun Gee and Li-lan have combined those experiences intrinsically, sometimes in spite of the pain that such a complex passage may entail. Li-lan was exposed to Yun Gee's paintings and his cultural sophistication when she was a child, and this exposure was crucial to her artistic being. In turn, she has broadened and deepened the audience for her father's art through her archival work, her conservation of and her efforts to encourage exhibitions of his work. For more about Li-lan visit: http://www.li-lan.com

Japanese POP and CONTEMPORARY Art. For a number of years, the key phrase "Cool Japan" has gained popularrity around the world. The art, fashion, animation, cuisine and architecture that we Japanese have long taken for granted have beenlatched on to as new and exciting by consumers around the world. Arttists introduced here by BOOM are all contemporary art makers currently working in Japan. They vary in technique and age, and essentially have no common theme or genre. However, the one thread that links all of these artists is that, in this ever changing era, they continue to conceive and pursue new and unique methods of expression in their work. In every sense they are "artists living in the NOW." Through BOOM we hope audiences will experience that special "something" that is found in the very DNA of the Japanese people. That je ne sais quoi which has its basis in the traditions of Japanese art and is only emphasized through the expression and craftsmanship of the individual artists presented. These contemporary artists are the true life-breath of their generation. our greatest hope is that this volume may inspire an interest in both these extraordinary artists and their art.

Modern Arab Art provides a historical and theoretical overview of the subject from the 1940s through today. With particular emphasis on production, reception, and the intersection between art and politics in Iraq and Palestine, Nada Shabout reveals the fallacy in Western fascination with Arab art as a timeless and exotic "other."

In Chinese, the character for "heart" is both heart and mind a source of thoughts, intelligence and feelings. This book is a meditation and contemplation on HEART. There are 20 Chinese words or characters inside, all coming from the root-word of "heart." Each one presented in Chinese calligraphy on batik. As you read this book, you are invited to pause at each page to reflect or meditate on both the paintings and the words. Engage both your heart and your mind. Be still. And listen to your own heart song. And as a bonus gift, you will also learn a new Chinese word on each page. Website: www.RunWaters.blogspot.com

The journey of Chinese art - from mass-produced propaganda in the Mao era to modern-day market darling - mirrors China’s own momentous changes like few other disciplines. Today, in both contemporary art and contemporary Chinese society, commerce and politics coexist in a delicate balance, which some call sensible and others, selling out.

By traveling to the studios of renowned Chinese artists, hearing their rags-to-riches tales and interviewing the critics, curators, and collectors that have been around since its idealistic beginnings, author Claire van den Heever paints a picture of Chinese art’s bumpy path to commercial and critical success, and uncovers the secrets it tried to keep along the way

The first in-depth scholarly study in English of the Japanese performance medium kamishibai, Sharalyn Orbaugh's Propaganda Performed illuminates the vibrant street culture of 1930s Japan as well as the visual and narrative rhetoric of Japanese propaganda in World War II. Emerging from Japan's cities in the late 1920s, kamishibai rapidly transformed from a cheap amusement associated with poverty into the most popular form of juvenile entertainment, eclipsing even film and manga. By the time kamishibai died as a living medium in the 1970s it had left behind indelible influences on popular culture forms such as manga and anime, as well as on avant-garde cinema, theater, and art. From 1932 to 1945, however, kamishibai also became a vehicle for propaganda messages aimed not primarily at children, but at adults. A mixture of script, image, and performance, the medium was particularly suited to conveying populist, emotionally compelling messages to audiences of all classes, ages, and literacy levels, making it a crucial tool in the government's efforts to mobilize the domestic populace in Japan and to pacify the inhabitants of the empire's colonies and occupied territories. With seven complete translations of wartime plays, over 300 color illustrations from hard-to-access kamishibai play cards, and photographs of prewar performances, this study constitutes an archive of wartime history in addition to providing a detailed analysis of the rhetoric of political persuasion.

Purchasing this Mandala Coloring Book will reveal 40 intricate mandalas that are just waiting to be colored by you. With a variety of unique designs, these mandalas, once colored, will have calming effects and make even the most stressful days more pleasant. Coloring tools not included. Detailed mandalas recommended for adults.

Clay sculpting is an ancient traditional Chinese folk art. In the hands of the artists, fine clay is transformed into colorful sculptures. Subject matters of the sculptures usually come from characters in traditional Chinese folklore, classic literatures of operas and novels. It enjoyed the height of its boom between Tongzhi and Guangxu era in the Qing dynasty. Each piece reflects more than 300 years of Chinese folk art with life-like characteristics. The colors of the sculptures are elegant, natural and harmonious. In the 1980's, due to severe economic downturn, many Chinese clay sculpture artists were forced to abandon their lifelong career for livelihood. Having witnessed the hardships the old master experienced, the next generation of apprentices were reluctant to pick up the craft. Therefore, this traditional art is not well preserved its history and works are not adequately organized, and valuable collections of clay sculptures have been largely destroyed. To avoid the complete loss of authentic craft handmade clay figures, it has been recognized and protected as a national heritage.

Though the Drigung Kagyu was one of the most prominent and powerful schools of Tibetan Buddhism during its early period (12th - 14th century), its art is still relatively poorly known, even among Tibetans. With its mother monastery destroyed twice, once in the late 13th century and again during the Great Cultural Revolution, much of the art was lost or dispersed. The iconography of the Drigung School is examined with regard to its three main periods - early, middle, and late - in combination with the distinctive influences of the Sharri, Khyenri, and Driri styles. The book aims elucidate to the painting traditions of the Drigung Kagyu School and investigate lineage depictions and methods of dating, while referring to previously overlooked Tibetan sources, both ancient and modern. The publication and related exhibition also explores the beneficial quality ascribed to the works of art and the elements they contain.

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.

Three essays by leading scholars in the field of Japanese art explore Sesson's unique existence and unconventional painting style, as well as how scholarly perceptions of the artist have changed over time. Fifty-three entries highlight major works by Sesson as well as those by other artists before, during, and after his time. Sesson Shukei stands out as an anomaly in the history of Japanese art. Among the vast canon of Japanese ink painting, Sesson departed from convention. Inspired by the untamed landscape of the eastern regions of Japan, Sesson led a peripatetic existence caused by a lifetime of experiencing warfare and upheaval-yet he created some of the most visually striking images in the history of Japanese ink painting. This publication explores new ways of understanding and interpreting one of Japan's greatest painters and the world that shaped him.

Clay sculpting is an ancient traditional Chinese folk art. In the hands of the artists, fine clay is transformed into colorful sculptures. Subject matters of the sculptures usually come from characters in traditional Chinese folklore, classic literatures of operas and novels.It enjoyed the height of its boom between Tongzhi and Guangxu era in the Qing dynasty. Each piece reflects more than 300 years of Chinese folk art with life-like characteristics. The color of the sculptures are elegant, natural and harmonious.In the 1980's, due to severe economic downturn, many Chinese clay sculpture artists were forced to abandon their lifelong career for livelihood. Having witnessed the hardships the old master experienced, the nest generation of apprentices were reluctant to pick up the craft. Therefore, this traditional art is no well preserved, its history and works are not adequately organized, and valuable collections of clay sculptures have been largely destroyed.To avoid the complete loss of authentic craft of handmade clay figures, it has been recognized and protected as a national heritage.

This early work by Louis V. Ledoux was originally published in 1927 and we are now republishing it. 'The Art of Japan' is a work that details various aspects of Japanese art and includes chapters on 'Sculpture', 'Metal Work', 'Ceramics', and other artistic mediums.

InFlux: Contemporary Art in Asia brings together essays by leading critics and curators to examine modern and contemporary art practice and its discourses in Asia. Covering diverse regions spanning China, India, Thailand, Iran, West Asia, Pakistan, Kazakhstan, Hong Kong, Tibet, and Cambodia, the book examines their multiple modernities and the arrival of many Asia's upon the contemporary art scene. Some centers have become celebrated in the international exhibition circuit and the art market, but there is also an Asia beyond their ambit, and the book throws light upon major and minor, established and emergent geographies of art. Asia's own internal minorities fracture any unified sense of place, and representing this diversity has become a major challenge for today's curator. What is the impact on contemporary art of state power and burgeoning economies, or the persistent stereotypes of Asian craftsmanship, exoticism, and religiosity or the new ones of terrorism and tourist paradise? The book aims to challenge some of these perceptions by viewing modern and contemporary Asian art not as a given field but as a project in flux, constantly under revision via art practice and curatorial interventions.

This book, from the series Primary Sources: Historical Books of the World (Asia and Far East Collection), represents an important historical artifact on Asian history and culture. Its contents come from the legions of academic literature and research on the subject produced over the last several hundred years. Covered within is a discussion drawn from many areas of study and research on the subject. From analyses of the varied geography that encompasses the Asian continent to significant time periods spanning centuries, the book was made in an effort to preserve the work of previous generations.