The fifth in a five volume series. Volume V deals with small collections of ivories found at Fort Shalmaneser and tries to place them in their positions before the final assault and looting on the palace.

Closely examining staged images of Japanese femininity, this study centers on the mid-Meiji souvenir photography of Kusakabe Kimbei, approaching from the artist's perspective while referencing his culture's visual and traditional practices. The analysis attempts to construe visual material in its original context using various points of departure, including the sociocultural significance of the staged models, the visual display of the photographic models in relation to the visibility problem of Japanese women in Meiji visual media, and Kimbei's visual encodings of Japanese femininity. By means of contextualized analysis, this survey seeks to illuminate the intricate structure of significations embedded on the visual plane, ultimately demonstrating how Kimbei's female images present a locus of multilayered meanings.

Liu Kang (1911-2004) and Ho Ho Ying (1936-) are important painters in Singapore's art history. But along with their creative practices, they also played key roles as art writers and critics. Their opposing positions on modernism and abstraction, and the debate and discussion generated between them, both shaped and reflected Singapore's art scene through the 1950s, 60s and 70s and well into the 1980s. These selected writings, mostly drawn from the Chinese-language press, and now translated into English, vividly document important phases in Singapore's art history. The editorial team of T. K. Sabapathy, and Cheo Chai-Hiang has an unparalleled understanding of the critical landscape in which Singapore's art has developed over the years. Cheo's introduction of Liu Kang and Ho Ho Ying as writers establishes certain key themes in the relationship between art and criticism in Singapore and Southeast Asia, with its many artist-writers and artist-critics. Those in Singapore's art world often assume that they work, write and read in a critical vacuum, but as this book shows, this conclusion is far from the truth.

This volume, the catalog to an international exhibition, focuses on the role art played in the display of power at the court of the Chinese emperor and at the royal court of Saxony-Poland. In over 400 examples, it contrasts the representative art of China and Europe and also serves as a handbook that explains and illustrates terms relating to this form of art. All objects are illustrated in color and are accompanied by a description and commentary. German text.