Architectural photography is where Se found his niche and in Seeing Borobudur he turns his expert eye on the world’s largest Buddhist monument in Central Java, Indonesia. Dating back to the 9th century, the UNESCO World Heritage site features thousands of stunning relief panels and hundreds of statues set within incredible temple architecture. This book offers a unique perspective on these treasures, taking readers on an in-depth exploration of the temple and the different religious stories, myths and depictions of everyday life found in the panels, which are generally considered to be some of the most exquisite of the ancient Buddhist world.

Who spoke of the modern in Southeast Asia? When and where was the modern written? How was it written? How was it received? This collection brings together nearly 300 texts that were originally published between the late 19th to late 20th centuries, selected by a group of scholars as responses to questions such as these. The texts were produced chiefly in various locations in the region, by artists, critics, historians and curators in 13 languages, many of which had never before been translated into the English language. Years in the making, this publication is the first to present such breadth and depth of art writing in the region of Southeast Asia, and will be a valuable resource to students, teachers, scholars and those interested in Southeast Asian studies and art history.

Krishen Jit was one of the most influential figures in the arts in Southeast Asia. He had distinguished himself as a director, dramaturg, critic, academic, arts advocate, educationist, historian and regional power broker in a career that spans over 40 years. As a critic and scholar, he has defied the boundaries of language and genre, making his body of writings an indispensable resource in the structuring and historicizing of arts practice in Malaysia. Krishen's critical studies have appeared in "The Asian Theatre Journal", "Dewan Sastera", "The New Sunday Times", "Far Eastern Economic Review" and "The Cambridge Guide to World Theatre" among other publications. This book features a selection of Krishen's essays and articles written from the early 1970s to date, covering theatre, dance and visual art. Articles include an analysis of contemporary theatre in Southeast Asia, the polemics of religion and art in Malaysia, the dynamics of multiculturalism in performance and the artist's role as a public intellectual. This collection is a must for anyone seeking an insider's perspective on the arts in Southeast Asia.

From pure reds to salmon pinks, subtle violets to ultramarine blues, Anthony Poon's brightly coloured works capture the full spectrum of the rainbow, and reflect an abstract artist's relationship with the basic components of art: line, form and colour. A prolific and successful artist during his lifetime with an artistic oeuvre that includes painting and sculpture, Anthony Poon was awarded the 1991 Cultural Medallion Award for his significant contribution to the development of Singapore art. This monograph includes essays that provide insights into Poon's practice, ideas and materials as well as a biographical timeline and bibliography.

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.