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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.
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.
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.
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