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Introduces the art of miniature painting as practiced by the artists who illustrated books for the Mogul court, and shows how their paintings of rulers, nature, clothing, their work, and other subjects reveals life in the Mogul Empire.
Andreas Huyssen explores the history and theory of metropolitan miniatures—short prose pieces about urban life written for European newspapers. His fine-grained readings open vistas into German critical theory and the visual arts, revealing the miniature to be one of the few genuinely innovative modes of spatialized writing created by modernism.
A whimsical collection of iconic scenes from the Final Fantasy series, cheerfully realized by miniature photographer Tatsuya Tanaka! Cloud and Sephiroth reenact their fateful showdown--an open beer can standing in for Nibel Reactor cooling tower. Setzer steers his airship Blackjack, mischievously recreated from corn on the cob. A chocobo flits and frolics across a field of . . . tennis balls. Tetsuya Tanaka's vibrant miniature photography is showcased side-by-side with concept art that details the process of each photo's creation. This tome catalogs fan-favorite moments captured from across the Final Fantasy series, followed by a longform interview with Tatsuya Tanaka himself. Dark Horse Books and Square Enix present Miniature Final Fantasy: No Adventure Too Large--Tatsuya Tanaka's miniature Final Fantasy scenes from his memorable Miniature Calendar series. This joyous collaboration celebrates the Final Fantasy series from a wholly unique perspective.
This book is a collection of the author’s miniature photography works, accompanied by explanations on how to generate ideas or concepts and ultimately transform them into unique and captivating photos. Everything about miniature photography is thoroughly discussed based on the author’s experience during his involvement in this field. This book is a compilation of the author’s miniature photography works that have been previously published on social media. It also delves into all aspects of miniature photography that the author has been engaged in, representing a complete overhaul of the earlier book “Kreatif Dengan Miniatur Fotografi”, which was initially released in limited quantities for a select audience in 2020.
Fifty leaves that form the sumptuous Kevorkian Album, one of the world's greatest assemblages of Mughal art. -- Metropolitan Museum of Art website.
The depiction of flora and fauna has been an intrinsic part of Indian painting traditions. The Mughals in their turn, in their fascinating paintings, used the bird and animal imagery to lend a special quality to their art of painting. This book, with over 70 illustrations, is a survey of the birds and animals used in Mughal paintings, especially during the reigns of Emperors Akbar and Jahangir. With historical details, it shows that the depiction of various kinds of birds and animals played a significant role in conformity with the context or the demands of the narratives. The artists painted both wild and domestic animals with equal competence. Outlining the differences in the paintings under the Mughal rulers themselves with regard to depiction of fauna, it notes that while Akbar was interested in historical, mythological or anecdotal events, Jahangir introduced album paintings and evinced interest in individual portrait studies of fauna. In all, it showcases the meticulous depiction of fauna in Mughal art and its persevering beauty. It mentions the names of a host of artists who executed the paintings and the many illustrated manuscripts mythological, historical and on popular fables that saw lavish use of paintings with faunal imagery. The book will interest historians especially those studying art history of the medieval period.
Yet while the White House remains one of the country's most popular tourist spots, most Americans will never have the opportunity to visit and experience the thrill of history in the making.".
A new generation of archaeologists has thrown down a challenge to post-processual theory, arguing that characterizing material symbols as arbitrary overlooks the material character and significance of artifacts. This volume showcases the significant departure from previous symbolic approaches that is underway in the discipline. It brings together key scholars advancing a variety of cutting edge approaches, each emphasizing an understanding of artifacts and materials not in terms of symbols but relationally, as a set of associations that compose people’s understanding of the world. Authors draw on a diversity of intellectual sources and case studies, paving a dynamic road ahead for archaeology as a discipline and theoretical approaches to material culture.
Miniaturisation is the creation of small objects that resemble larger ones, usually, but not always, for purposes different to those of the larger original object. Worlds in Miniaturebrings together researchers working across various regions, time periods and disciplines to explore the subject of miniaturisation as a material culture technique. It offers original contribution to the field of miniaturisation through its broad geographical scope, interdisciplinary approach, and deep understanding of miniatures and their diverse contexts. Beginning with an introduction by the editors, which offers one possible guide to studying and comparing miniatures, the following chapters include studies of miniature Neolithic stone circles on Exmoor, Ancient Egyptian miniature assemblages, miniaturisation under colonialism as practiced by the Makah People of Washington State, miniature surf boats from India, miniaturised contemporary tourist art of the Warao people of Venezuela, and dioramas on display in the Science Museum. Interspersing the chapters are interviews with miniature-makers, including two miniature boat-builders at the National Maritime Museum Cornwall and a freelance architectural model-maker. Professor Susanne Küchler concludes the volume with a theoretical study summarising the current state of miniaturisation as a research discipline. The interdisciplinary nature of the volume makes it suitable reading for anthropologists, archaeologists, historians and artists, and for researchers in related fields across the social sciences.