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Textiles provide a visual history of a country's culture and crafting traditions in a way few other things can accomplish. In Textiles of Southeast Asia, Dr. Robyn Maxwell provides the definitive work on Southeast Asian textiles. Traditional textiles are one of the most widely collected and important categories of Southeast Asian art. Using an extensive range of locally produced raw materials and an astonishing array of techniques—including applique, weaving, batik and embroidery—the textiles of Southeast Asia are astonishing in their versatility and originality. Textiles are used to fashion everything from everyday clothing to sacred and ceremonial costumes, shrouds and wrapping cloths, hangings, banners and ritual regalia—all of which are represented and explained in Textiles of Southeast Asia. This authoritative text focuses on the changing relationship between indigenous Southeast Asian traditions and the outside influences continuing to be brought to the area, which change the nature of the region's textile traditions. This book considers the various ways Southeast Asian textile artisans reacted over the centuries to the steady stream of new and powerful ideas and raw materials arriving from India, China, the Islamic world and Europe. A detailed and definitive resource, Textiles of Southeast Asia is a welcome addition to the field of textiles.
The aim of this book is to track the historical origins of China’s economic reforms. From the 1920s and 1930s strong ties were built between Chinese textile industrialists and foreign machinery importers in Shanghai and the Yangzi Delta. Despite the fragmentation of China, the contribution of these networks to the modernization of the country was important and longstanding. Facing the challenge of growing in a fragmented country, Chinese textile firms such as Dafeng, Dacheng and Lixin focused on urban markets and also on importing technology for upgrading their production. When the war against Japan blocked trade routes inside China, these networks were concentrated in Shanghai where they envisaged an export-oriented development strategy for China that was based on importing machinery and exporting manufactured products. However, this strategy was only implemented precariously in Shanghai, while the city stood as a neutral space in the first years of the Japanese occupation, but was only consolidated in Hong Kong in the late 1940s, where textile industrialist and most of the foreign importers migrated. These networks were thus reestablished in Hong Kong, where they contributed to the city's industrialization in the Cold War period. Meanwhile, the Chinese industrialists that stayed in Shanghai and the Yangzi Delta had to adapt to the Maoist regime and were progressively incorporated into the state-owned companies or the local government agencies such as the United Front or the Textile bureaus. However, from the early 1970s, the links between Hong Kong and Shanghai were reactivated and these networks played, again, a key role in the modernization of China, especially regarding the imports of technology and exports of manufactured goods. The book ends with the first joint-ventures between Hong Kong businessmen and Chinese local administrations that took place in the beginnings of China's economic reforms in 1979.
Drawing on new research on textile trade and production in the regions that depended on the Indian Ocean, the book contributes to a new understanding of the role that Indian cloth played in the making of the modern world economy.
In Transcending Patterns: Silk Road Cultural and Artistic Interactions through Central Asian Textiles, Mariachiara Gasparini investigates the origin and effects of a textile-mediated visual culture that developed at the heart of the Silk Road between the seventh and fourteenth centuries. Through the analysis of the Turfan Textile Collection in the Museum of Asian Art in Berlin and more than a thousand textiles held in collections worldwide, Gasparini discloses and reconstructs the rich cultural entanglements along the Silk Road, between the coming of Islam and the rise of the Mongol Empire, from the Tarim to Mediterranean Basin. Exploring in detail the iconographic transfer between different agents and different media from Central Asian caves to South Italian churches, the author depicts and describes the movement and exchange of portable objects such as sculpture, wall painting, and silk fragments across the Asian continent and across the ages. Gasparini’s history offers critical perspectives that extend far beyond an outmoded notion of “Silk Road studies.” Her cross-media work shows readers how certain material cultures are connected not only by the physical routes they take but also because of the meanings and interpretations these objects engage in various places. Transcending Patterns is at once art history, material and visual cultural history, Asian studies, conservatory studies, and linguistics.