Download Free Art De Lislam Extreme Orient Archeologie Book in PDF and EPUB Free Download. You can read online Art De Lislam Extreme Orient Archeologie and write the review.

This book represents a comprehensive study of 'The Bejewelled Buddha' considering stylistic as well as iconographic issues. A crucial moment in the Buddha's life seems to have been referred to through this image, namely, the sojourn on Mount Meru, where the Buddha sat on Indra's seat and taught all the gods. By occupying the seat of the king of the gods he was able to endorse the royal function of this deity; this becomes particularly evident in the late fifth century, and probably reflects the dramatic situation that the Buddhist community was confronted with, i.e. the political power essentially fostering the Hindu religion and social structure. Hence, the Buddha is depicted as a perfect and powerful ruler sitting at the top of the universe and showing himself adorned as a king; more than any human ruler, the Buddha rules over the universe. There is also another dimension that should never be neglected - as in any other Indian cult, worship of his image entailed offerings of various kinds, such as flower garlands or jewels, being made to the Buddha. The image of the Bejewelled Buddha thus included various constituents while at the same time it was used as the locus where different religious or political concepts found a way of expression. The result was the creation of an image of multi-layered significance which found its way into all Asian cultures.
Old Myths and New Approaches: Interpreting Ancient Religious Sites in Southeast Asia brings together recent research by leading experts on Southeast Asia in the pre-modern era. The authors examine sites from early and Angkor-period Cambodia and Vietnam, on the mainland, to temples in Java and Bali, and discuss many different aspects of these sites’ uses and functions. This comprehensive, innovative and interdisciplinary work will be invaluable to scholars and students of historical Southeast Asia.
This encyclopedia presents alphabetically arranged scholarly articles "on topics of archeological, geographic, ethnographic, historical, artistic, literary, religious, linguistic, philosophical, scientific, and folkloric interest. ... The time span covered ... extends from prehistory to the present; however, biographies of living persons are excluded." -- Introduction.
This book analyses a group of Buddhist sculptures from ancient Southeast Asia, putting them into their historical, religious, and artistic context and then traces their relationship with art from India and elsewhere in Southeast Asia.
This book analyses a group of Buddhist sculptures from ancient Southeast Asia, putting them into their historical, religious, and artistic context and then traces their relationship with art from India and elsewhere in Southeast Asia.
The subject of this book is the so-called London Qazvini, an early 14th-century illustrated Arabic copy of al-Qazvini's The Wonders of Creation and the Oddities of Existing Things, which was acquired by the British Library in 1983 (Or. 14140). As is commonly the case for copies of this text, the London Qazvini is lavishly illustrated, with 368 extant paintings out of the estimated original ca. 520.Its large format, ambitious illustrative cycle and the fine quality of many of the illustrations suggest that the atelier where it was produced must have been well-established and able to attract craftsmen from different parts of the Ilkhanid area. It also suggests that its patron was wealthy and curious about scientific, encyclopedic and cajA 'ib literature, and keen to experiment with the illustration of new texts like this work, which had been composed by the author only two or three decades earlier. The only centre that was capable of gathering such artistic influences ranging from Anatolia to Mesopotamia appears to have been Mosul.The London QazvA nA is an important newly surfaced document for the study of early illustrated Arabic copies of this text, representing the second earliest known surviving manuscript, as well as for the study of Ilkhanid painting. In a single and unique manuscript are gathered earlier Mesopotamian painting traditions, North Jaziran-Seljuq elements, Anatolian inspirations, the latest changes brought about after the advent of the Mongols, and a number of illustrations of extraordinary subjects which escape a proper classification.