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An engaging explanation of Oceanic art and an important gateway to wider appreciation of Oceanic heritage and visual culture
This book integrates a region-wide chronological narrative of the archaeology of Pacific Oceania. How and why did this vast sea of islands, covering nearly one-third of the world’s surface, come to be inhabited over the last several millennia, transcending significant change in ecology, demography, and society? What can any or all of the thousands of islands offer as ideal model systems toward comprehending globally significant issues of human-environment relations and coping with changing circumstances of natural and cultural history? A new synthesis of Pacific Oceanic archaeology addresses these questions, based largely on the author’s investigations throughout the diverse region.
Includes detailed chapters devoted to each of the five major cultural regions of the Pacific: Australia, Melanesia, Micronesia, Polynesia, and the islands of Southeast Asia.
Contributors explore the complex relations among Pacific artists, patrons, collectors, and museums over time, as well as the different meanings given to art objects by each.
Both anthropologists and conservation scientists are fascinated by Oceanic barkcloth, or tapa, as it is known by its generic Polynesian term. Historic tapa designs are often living cultural heritage, but today’s objects also combine content, form and tradition in new ways and are intimately connected with the social and cultural identity of individuals, groups, and even nations. With tapa being completely alien to European traditions, conservation scientists are challenged by the material and its restoration and preservation. Questions of adequate presentation in exhibitions touch upon both disciplines, particularly when cultural requirements of the source communities come into play. This volume brings together presentations given at an interdisciplinary symposium on the social and cultural meanings, conservation and presentation of Oceanic tapa, organised and hosted by the Rautenstrauch-Joest-Museum of World Cultures and the Institute of Conservation Sciences, Cologne, in 2014. By presenting new, international, cutting-edge research from both disciplines, Made in Oceania offers unique insights into current museum practice, and connects historical research with recent social and cultural developments in the Pacific.
Academic survey of the Pacific Islands. Includes maps, photographs, tables, diagrams, atlas, and detailed index.
Oceania was the last region on earth to be permanently inhabited, with the final settlers reaching Aotearoa/New Zealand approximately AD 1300. This is about the same time that related Polynesian populations began erecting Easter Island's gigantic statues, farming the valley slopes of Tahiti and similar islands, and moving finely made basalt tools over several thousand kilometers of open ocean between Hawai'i, the Marquesas, the Cook Islands, and archipelagos in between. The remarkable prehistory of Polynesia is one chapter of Oceania's human story. Almost 50,000 years prior, people entered Oceania for the first time, arriving in New Guinea and its northern offshore islands shortly thereafter, a biogeographic region labelled Near Oceania and including parts of Melanesia. Near Oceania saw the independent development of agriculture and has a complex history resulting in the greatest linguistic diversity in the world. Beginning 1000 BC, after millennia of gradually accelerating cultural change in Near Oceania, some groups sailed east from this space of inter-visible islands and entered Remote Oceania, rapidly colonizing the widely separated separated archipelagos from Vanuatu to S?moa with purposeful, return voyages, and carrying an intricately decorated pottery called Lapita. From this common cultural foundation these populations developed separate, but occasionally connected, cultural traditions over the next 3000 years. Western Micronesia, the archipelagos of Palau, Guam and the Marianas, was also colonized around 1500 BC by canoes arriving from the west, beginning equally long sequences of increasingly complex social formations, exchange relationships and monumental constructions. All of these topics and others are presented in The Oxford Handbook of Prehistoric Oceania written by Oceania's leading archaeologists and allied researchers. Chapters describe the cultural sequences of the region's major island groups, provide the most recent explanations for diversity and change in Oceanic prehistory, and lay the foundation for the next generation of research.
This unique and fascinating book concentrates on the varying roles and functions that material culture may play in almost all aspects of the social fabric of a given culture. The contributors, from Africa, Australia and Papua New Guinea, India, South America, the USA, and both Eastern and Western Europe, provide a rich variety of views and experience in a worldwide perspective. Several of the authors focus on essential points of principle and methodology that must be carefully considered before any particular approach to material culture is adopted. One of the many fundamental questions posed in the book is whether or not all material culture is equivalent to documents which can be 'read' and interpreted by the outside observer. If it is, what is the nature of the 'messages' or meanings conveyed in this way? The book also questions the extent to which acceptance, and subsequent diffusion, of a religious belief or symbol may be qualified by the status of the individuals concerned in transmitting the innovation, as well as by the stratification of the society involved. Several authors deal with 'works of art' and the most effective means of reaching an understanding of their past significance. In some chapters semiotics is seen as the most appropriate technique to apply to the decoding of the assumed rules and grammars of material culture expression.
Res is a journal of anthropology and comparative aesthetics dedicated to the study of the object, in particular cult and belief objects and objects of art. The journal presents contributions by philosophers, art historians, archaeologists, critics, linguists, architects, artists, among others.