From abhayamadra through zoomorphic, this is an essential dictionary for anyone stepping into the fascinating world of South and Southeast Asian art. Now with over 1,300 entries and 112 line illustrations, this revised and expanded edition makes a handy reference for travelers and residents, students, museum goers, and general readers. Explanations are succinct and easy to understand. Entries range from terms encountered in South and Southeast Asian history, religion, mythology, and literature, to those specific to art and architecture. Words are drawn from the diverse religious traditions of the region, including Buddhism, Hinduism, Islam, Jainism, Sikhism, and Taoism, and from the countries of the region, including Cambodia, India, Indonesia, Laos, Myanmar, Sri Lanka, Thailand, and Vietnam.

In "The Painter's Practice," James Cahill reveals the intricacies of the painter's life with respect to payment and patronage--an approach that is still largely absent from the study of East Asian art. Drawing upon such unofficial archival sources as diaries and letters, Cahill challenges the traditional image of the disinterested amateur scholar-artist, unconcerned with material rewards, that has been developed by China's literati, perpetuated in conventional biographies, and abetted by the artists themselves. His work fills in the hitherto unexplored social and economic contexts in which painters worked, revealing the details of how painters in China actually made their living from the sixteenth century onward. Considering the marketplace as well as the studio, Cahill reviews the practices and working conditions of artists outside the Imperial Court such as the employment of assistants and the use of sketchbooks and prints by earlier artists for sources of motifs. As loose, flamboyant brushwork came into vogue, Cahill argues, these highly imitable styles ironically facilitated the forger's task, flooding the market with copies, sometimes commissioned and signed by the artists themselves. In tracing the great shift from seeing the painting as a picture to a concentration on the painter's hand, Cahill challenges the archetype of the scholar-artist and provides an enlightened perspective that profoundly changes the way we interpret familiar paintings.

A translation of Professor Boisselier's original work. This monograph discusses twenty-four sculptures representative of Khmer art. Includes brief chapters on the history and religions of Cambodia as background for understanding the discussion of the statuary itself, as well as beautiful black-and-white reproductions and a glossary.

This beautifully illustrated survey examines the art and artists of the Edo period, one of the great epochs in Japanese art. Together with the imperial city of Kyoto and the port cities of Osaka and Nagasaki, the splendid capital city of Edo (now Tokyo) nurtured a magnificent tradition of painting, calligraphy, printmaking, ceramics, architecture, textile work, and lacquer. As each city created its own distinctive social, political, and economic environment, its art acquired a unique flavor and aesthetic. Author Christine Guth focuses on the urban aspects of Edo art, including discussions of many of Japan's most popular artists--Korin, Utamaro, and Hiroshige, among others--as well as those that are lesser known, and provides a fascinating look at the cities in which they worked.

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.

More than any other civilisation, China is renowned for its long tradition of ceramic production, from its terracotta and stoneware works in ancient times to the imperial porcelain manufactured at Jingdezhen from the end of the fourteenth century. These works have been admired and collected over centuries for their outstanding quality and refinement. Now two hundred masterpieces from prominent private collections around the world have been brought together for the first time in a new book. The Baur Collections in Geneva, formed between 1928 and 1951, and the Zhuyuetang Collection (the Bamboo and Moon Pavilion in Hong Kong), which has been building since the late 1980s, reveal the elegance and variety of imperial monochrome porcelain wares produced during the Ming (1368-1644) and Qing (1644-1911) dynasties, which followed on from the Tang (618-907) and Song (960-1279) periods. These restrained pieces - both profane and sacred - exemplify the values of simplicity and modesty espoused by classical Chinese texts. With chapters devoted to the historical, cultural and technical contexts in which these pieces were made, this book will be a key reference on Chinese monochrome ceramics for all lovers of the subject, as well as students, researchers and connoisseurs. Text in English and French with Chinese summaries.

Architecture and urban planning have always been used by political regimes to stamp their ideologies upon cities, and this is especially the case in the modern Turkish Republic. By exploring Istanbul's modern architectural and urban history, Murat Gul highlights the dynamics of political and social change in Turkey from the late-Ottoman period until today. Looking beyond pure architectural styles or the physical manifestations of Istanbul's cultural landscape, he offers critical insight into how Turkish attempts to modernise have affected both the city and its population. Charting the diverse forces evident in Istanbul's urban fabric, the book examines late Ottoman reforms, the Turkish Republic's turn westward for inspiration, Cold War alliances and the AK Party's reaffirmation of cultural ties with the Middle East and the Balkans. Telltale signs of these moments - revivalist architecture drawing on Ottoman and Seljuk styles, 1930s Art Deco, post-war International Style buildings and the proliferation of shopping malls, luxurious gated residences and high-rise towers, for example - are analysed and illustrated in extensive detail.Connecting this rich history to present-day Istanbul, whose urban development is characterised anew by intense social stratification, the book will appeal to researchers of Turkey, its architecture and urban planning.

This is the ninth part of the successful series supervised by Aiko Mabuchi, Director General, The National Museum of Western Art, Tokyo, which provide art historians and students with the primary source materials related to the reception of Japanese arts from late nineteenth-century to early twentieth century in the Western societies. All materials are reproduced in facsimile reprint and include many plates and illustrations in colour. This new collection includes writings by James Lord Bowes on Japanese arts. Bowes (1834-1899) was a wealthy Japanese art collector in Liverpool and was appointed the first foreign-born Japanese Consul in Great Britain. He opened Bowes Museum which was the first dedicated museum of Japanese art in the western world and is regarded as one of the most important figures in the British reception of Japanese art and culture in the Victorian era. Volume 1-4 of the five-volume reprint set covers his writings on Japan and Japanese arts and the catalogues of Bowes museum which he edited and published himself. Also included is a very rare catalogue of auction which was held after his death and is the only source of information of one of the largest collection of Japanese art of the time. The last volume is a facsimile reprint of the monumental work of Japanese ceramic art which was originally published in two volumes and includes approx.110 plates in colour.

Since the publication of Edward Said's groundbreaking work Orientalism 35 years ago, numerous studies have explored the West's fraught and enduring fascination with the so-called Orient. Focusing their critical attention on the literary and pictorial arts, these studies have, to date, largely neglected the world of interior design. Oriental Interiors is the first book to fully explore the formation and perception of eastern-inspired interiors from an orientalist perspective. Orientalist spaces in the West have taken numerous forms since the 18th century to the present day, and the fifteen chapters in this collection reflect that diversity, dealing with subjects as varied and engaging as harems, Turkish baths on RMS Titanic, Parisian bachelor quarters, potted palms, and contemporary yoga studios. It explores how furnishings, surface treatments, ornament and music, for example, are deployed to enhance the exoticism and pleasures of oriental spaces, looking across a range of international locations. Organized into three parts, each introduced by the editor, the essays are grouped by theme to highlight critical paths into the intersections between orientalist studies, spatial theory, design studies, visual culture and gender studies, making this essential reading for students and researchers alike.

"Vessels of Influence", while examining in depth the role of Chinese ceramics in Japan, also delves into the meaning, motivation for, and rapid development of Japanese porcelain from many angles, including archaeology, heirloom and documentary evidence. The political and fiscal advantage that one lord found for his domain in creating its own local 'china' is placed in the context of the domestic and international market economy. Through an examination of the role of China and that of a domestic 'china' in Japan, a fuller picture of Japan's rich material culture emerges, revealing complex interactions between government, taste-makers, traders, merchants, consumers, imports and new technology. "Vessels of Influence" also discusses how these interactions have been viewed by historians, and the often heated debates that have occurred as a result.

Is there something unique about Islamic art? This book argues that there is not -- that Islam does not play an leading role in the aesthetic judgements that we should make about objects created in the Islamic world. It is often argued that a very special sort of consciousness went into creating Islamic art, that it is very different from other forms of art, that Muslims are not allowed to portray human beings in their art, and that calligraphy is the supreme Islamic art form. Oliver Leaman challenges all these ideas, showing them to be misguided. Instead he suggests that the sort of criteria we should apply to Islamic art are identical to the criteria applicable to art in general, and that the attempt to put Islamic art into a special category is a result of orientalism Key Features: *Criticises the influence of Sufism on Islamic aesthetics *Deals with issues arising in painting, calligraphy, architecture, gardens, literature, films, and music *Pays close attention to the Qur'an *Argument includes examples from history, art, philosophy, theology and the artefacts of the Islamic world The reader is invited to view Islamic art as no more and no less than ordinary art, neither better nor worse than anything else that counts as art. It follows that there are no special techniques required in Islamic aesthetics as compared with any other form of aesthetics.

This text looks at the role of art in the Indian subcontinent and then analyzes early art from the Indus civilization (2000 BC) to the time of Buddha (c.5000 BC). The Mauryan emperor Ashoka (4th century BC), was an important player in the dissemination of Buddhism, using art to this end. A stable economic base and the rise of a mercantile community were important in Buddhism's growth. Inscriptions show that the contributions to pay for art came from housewives, householders, merchants, traders and a range of other common people. The vibrant narrative tradition displayed in this art is analyzed.

This second volume of Basil Robinson's Studies concentrates on Persian manuscript illumination, beginning with six studies of artists who worked in this medium. There then follows twenty-two studies of individual manuscripts, from the fourteenth century onwards. Vol II Contents: Preface 'Zenith of his Time': the Painter Pir Ahmad Baghshimali Bihzad and his School: the Materials Siyah Qalam Painter-llluminators of 16th Century Shiraz Muhammadi and the Khurasan Style Ali Asghar, Court Painter The Earliest Illustrated Manuscript of Nizami? Two Persian Manuscripts in the Library of the Marquess of Bute, I. Two Mathnawis Two Illustrated Manuscripts in the Malek Library, Tehran. I. Anthology A Persian Battle-Piece Prince Baysunghur and the Fables of Bidpai Prince Baysunghur's Nizami: A Speculation Unpublished Paintings from a 15th-Century Book of Kings The Shahnama of Muhammad Juki, RAS MS 239 The Dunimarle Shahnama: A Timurid Manuscript from Mazandaran The Tehran Manuscript of Kalila wa Dimna: A Reconsideration The Durham Gulistan: an Unpublished Timurid Manuscript RAS MS 178: an unrecorded Persian Painter The John Rylands Layla wa Majnoun and the Bodleian Nawa'i of 1485: a Royal Timurid Manuscript 'A Magnificent MS': the British Library Shahnama of 1486 Origin and Date of Three Famous Shah Nameh Illustrations Rustam in Battle: A Persian Masterpiece An Unpublished Manuscript of the Gulistan of Sa'di Isma'il II's Copy of the Shahnama Two Manuscripts of the Shahnama in the Royal Library, Windsor Castle. I. Holmes 150 Two Persian Manuscripts in the Library of the Marquess of Bute. II. Anwar i Suhayli of 1593 A Lost Persian Miniature Two Manuscripts of the Shahnama in the Royal Library, Windsor Castle. II. Holmes 151 The Shahnameh Manuscript Cochran 4 in the Metropolitan Museum of Art Index.

This second volume of Professor Sullivan's studies covers his work on modern Chinese art and the art and archaeology of South-East Asia. The break between traditional Chinese painting and the European-influenced art of the twentieth century is charted in detail, with an introductory paper that explores the value of the traditional aesthetic for the future of China and East Asia. The developments in Chinese art in the twentieth century are then examined. The conflict between traditional values and new ideas in art, particularly the Marxist legacy of modern China, are dealt with in three further papers, and a final study is devoted to new trends in Chinese art following the trauma of the Cultural Revolution. The author's work on the art of South-East Asia is introduced by three studies on finds of Chinese export porcelain in this region. The close links between Chinese civilization and the native cultures is covered in detail, but as the following studies show, there was much that was original in the art of the region, and Indian elements were also important. The volume concludes with a study of the nineteenth-century Japanese painter, Tessai, whose debt to Chinese art was considerable. Additional notes again draw attention to subsequent work in the field. Contents: Preface Traditional Aesthetics: Help or Hindrance to the Resurgence of East Asia? The Traditional Trend in Contemporary Chinese Art A Fresh Look at Twentieth Century Chinese Painting: Contemporary Chinese Painting from the People's Republic of China Art and the Social Framework Values through Art: Social Ethics as an Aesthetic Art in China Today: New Directions in Chinese Art Notes on Chinese Export Wares in Southeast Asia: Kendi Chinese Export Porcelain in Singapore Archaeology in the Philippines Archaeology in Thailand Today, Excavations in Kedah and Province Wellesley - 1957 The P'ra Sila of Chiengmai and its Replicas "Raja Bersiong's Flagpole Base": A Possible Link between Ancient Malaya and Champa The Discovery of Angkor Sketches of Penang by James Wathen in the University of Malaya Art Museum Tessai Additional Notes Index

Depuis son adoption de la " Convention pour la sauvegarde du patrimoine culturel immateriel " en 2003, la Chine a lance au niveau national, le repertoire de son patrimoine culturel immateriel, et a elabore, mis en action des mesures pour sa sauvegarde. Pekin, ancienne capitale des cinq dynasties, possede une source abondante du patrimoine culturel immateriel. Les vieilles enseignes pekinoises representent un vecteur particulier du patrimoine oral, l'art de la denomination, l'art de l'enseigne, la culture traditionnelle a travers le Confucianisme ainsi que des savoir-faire. Cependant, par rapport a la valorisation economique, la valorisation culturelle de ces entreprises a ete longtemps negligee. En recourant a la formulation du patrimoine culturel immateriel, le present travail a voulu explorer et etudier la pluralite du patrimoine immateriel des vieilles enseignes pekinoises, afin de montrer son enjeu dans le developpement et la perennite de ces enseignes ainsi que pour la preservation de la culture locale de Pekin.

For centuries ceramics have been a central feature of Chinese art and culture. They were employed in everyday life and served as both ritualistic and funerary objects. Dr Heribert Meurer's pre-eminent collection of 174 high-quality pieces dating from 1050 BCE to AD 1280 - which up until now has remained unpublished - offers an impressive panorama of the artefacts' roles, as well as the vessel forms and techniques of early Chinese ceramic art, complemented by over 30 objects from the GRASSI Museum Leipzig, where the collection was endowed in 2017. The focal points of the collection are the ceramics of the Tang and Song dynasties. Examples of the popular Sancai (tricolour) lead glaze, Celadon porcelain from Yueyao, Yaozhou and Longquan and Changsha ware, so-called Jian black porcelain from Jianyang Prefecture and Quingbai ware from the southern kiln sites of the Song era illustrate the wealth, diversity, high quality and exceptional appeal of early Chinese ceramics. Text in German.

Japon sigue siendo un misterio para los europeos que han sentido el hipnotismo y la magia de este pais por su apego a la tradicion y su imparable avance tecnologico que lo situa a la cabeza de las vanguardias especializadas. Este enigma cautiva a especialistas de todos los campos de investigacion que no han sido capaces de dar respuesta independientemente a la incognita del pais del sol naciente. Por eso este volumen pretende unir las investigaciones, estudios y analisis de diferentes disciplinas que ayuden a resolver el enigma japones. El hilo conductor de todas las aportaciones es el del viaje y los contactos que se establecen entre japoneses y europeos que se descubren reciprocamente para admirarse, aprender unos de otros y descubrir la piedra filosofal que cada uno dice poseer. Este es un volumen que habla de la capacidad de admiracion del ser humano, de su autodescubrimiento, de su pasion por vivir y aprender, pero tambien de una constante vital que nos mantiene alerta y nos empuja a salir al exterior. El viaje, es, en definitiva, el instrumento que derriba fronteras, permite el contacto y nos ayuda a entendernos en nuestra torre de Babel. El libro es el fruto del I Congreso Internacional y X Nacional de la AEJE (A sociacion de Estudios japoneses en Espana) celebrado en la universidad de Valladolid, Espana. Su caracter internacional amplio el ambito de investigacion a Europa y Japon, por lo que en el libro se han incluido otras lenguas en las que los participantes expusieron sus resultados cientificos.

The Van Gogh Museum invited the celebrated Chinese artist Zeng Fanzhi to present recent work inspired by Vincent van Gogh. Although the two artists differ greatly in historical period and place of origin, their art is very similar in substance. This similarity is apparent in the themes that Van Gogh and Zeng both perpetually explore, such as style, identity and personality, and the question of self-control and the outside world's degree of control over the individual. It is evident too in their powerful, searing paintings. Van Gogh's original paintings became famous partly for their vigorous, seemingly inimitable brushwork - the painter's individual 'handwriting'. Zeng has responded to this same brushwork with handwriting from a very different cultural tradition, namely that of Chinese calligraphy. He has done so at a time when Van Gogh has become immensely popular in countries like China and Japan. The result is a Van Gogh seen through Chinese eyes, in a way Vincent himself could never have imagined. Zeng takes meanings from the past and reuses them, over and over again, to generate valuable new meanings. This book focuses on Zeng's recent work, inspired by Van Gogh's iconic self-portraits, and explores the position and importance of the self-portrait within his oeuvre. Text in English and Chinese.

Cet ouvrage a recu le 32eme prix de la Society for the Study of Japonisme de Tokyo. Pour illustrer l'interet que l'art japonais suscita aupres des artistes occidentaux du XIXe siecle, le cas de Giuseppe De Nittis (1846-1884), peintre italien installe a Paris en 1868, est exemplaire. Devenu un artiste a succes, De Nittis fit son entree dans les milieux artistiques et intellectuels. Son salon devint un des endroits les plus celebres de la ville. Parmi ses convives, on comptait les majeurs collectionneurs d'art japonais de l'epoque. Les precieux renseignements recuperes dans des documents inedits ont permis de reconstituer le cadre japonisant ou De Nittis avait vecu et de remonter aux objets orientaux dont il aimait s'entourer et d'ou il puisa son inspiration. L'ouvrage conduit a une demonstration claire des relations entre japonisme et naturalisme chez De Nittis. C'est la premiere fois que De Nittis japonisant apparait sous un eclairage novateur et insoupconne. Base sur des recherches rigoureuses et nouvelles, ce livre apporte egalement des precisions passionnantes sur la diffusion d'objets japonais aupres d'artistes qui font partie, comme Manet, du cercle amical de De Nittis.

The principal aspects of Zen painting and the sumi-e method are explained in this book with a simple and poetic language. The materials used in this method of painting, such as solid ink, stone ink pots, bamboo brushes, and cloth paper, are explained in detail, as are the brushstrokes and techniques specific to each of the four noblemen--the bamboo, the prune, the chrysanthemum, and the wild orchid--with the goal of finding the way to creative expression. Los aspectos principales de la pintura zen y del metodo sumi-e surgen de un lenguaje sencillo y poetico en este libro. Los materiales utilizados como la tinta solida, tinteros de piedra, pinceles de bambu y papeles de fibras se describen detalladamente en esta guia, la cual tambien ensena las diferentes pinceladas y tecnicas particulares de los cuatro honorables caballeros: el bambu, el ciruelo, el crisantemo y la orquidea silvestre, con la noble finalidad de encontrar un camino para expresar la creatividad.

Between war, diplomatic relations and political changes, precious objects were transferred across borders, whether as gifts or war booty, and artists pursued careers from one workshop to another. With this interaction, an entirely new distinctive range of motifs emerged, referencing and building upon earlier Islamic tradition and foreign artistic influences. Through the high level of patronage and artistic craftsmanship, patrons and artists succeeded in shaping this cultural exchange. Text in English and Arabic.

This is a stunning presentation of works by contemporary Chinese artists, from the collection of the Swiss diplomat Uli Sigg, one of the world's most influential collectors of Chinese contemporary art. This book reflects on the current state of art in China today through a selection of over 50 works by different artists produced between 1986 and 2006 - a period of enormous economic and social change in the country with worldwide implications. This book shows Chinese avant-garde art against the backdrop of China's radical social and economic changes. Many of the works reveal the tension between current socialist ideals and the new consumerism shifting towards a capitalist economy.

Offering a new perspective on global trade relations during the Age of Exploration, "Portugal, Jesuits, and Japan" explores the relationships between Portuguese merchants, Jesuits, and the Japanese during the nanban period (1543-1614). Created to accompany an exhibit of the same name at the McMullen Museum of Art, this catalogue is richly illustrated with full-page images of Japanese art and artifacts of the period, from porcelain objects to furniture and weaponry. Victoria Weston has assembled a collection of eight essays by internationally renowned scholars from a variety of fields, which when taken as a whole create a comprehensive study of international relations during the period on a political, cultural, and spiritual level. The texts reflect upon a broad range of topics, from commercial contacts between shoguns and Iberian governments to close readings of the cultural implications of images depicted in nanban art. This volume explores the interactions between these three discrete groups through historical research, and the technological, political, and theological influence the West had upon the East and vice versa.