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Illustrations used for story-telling and mirth-making have enlivened Asian walls, scrolls, books, public and private places, and artifacts for millennia. Often playful and humorous, Asian pictorial stories lent conspicuous elements to contemporary comic art, particularly with their use of narrative nuance, humor, satire, and dialogue. Illustrating Asia is a fascinating book on a subject that is of wide and topical interest. All of the articles consider cartoon and/or comic art in the historical and social setting of seven South, Southeast, and East Asian countries: India, Taiwan, Malaysia, Indonesia, Sri Lanka, China, and Japan. The contributors treat comic and narrative art—including comic books, comic strips, picture books, and humor and fan magazines—in both historical and socio-cultural perspectives, as well as portrayals of ancient Chinese philosophy, gender, and the enemy in cartoons and comics. Contributors: Laine Berman, John A. Lent, Fusami Ogi, Rei Okamoto, Ronald Provencher, Aruna Rao, Kuiyi Shen, Shimizu Isao, Shu-chu Wei, Yingjin Zhang.
Asia is now the center of comic illustration. This cutting-edge collection showcases the work of illustrators from Asia. Many new artists have been emerging recently from Asia, taking their place in the international comic illustration industry through social media. Although their work shows influences from Japanese anime and manga, the superior drawing skills and pursuit of originality in each of these artists' work results in a fresh and intense take on traditional styles. This book showcases 46 illustrators focusing mainly on young up-and-coming artists and collects over 250 illustrations in total. Each artist is introduced in 2 to 6 pages. Most artists does digital drawing but there are some who does watercolor and ink painting. Immerse yourself in the work of these artists working at the forefront of the creative world of Asia. The Cover illustration was done by a Singaporean artist Guweiz.
This pioneering work traces the emergence of the modern and contemporary art of Muslim South Asia in relation to transnational modernism and in light of the region's intellectual, cultural, and political developments. Art historian Iftikhar Dadi here explores the art and writings of major artists, men and women, ranging from the late colonial period to the era of independence and beyond. He looks at the stunningly diverse artistic production of key artists associated with Pakistan, including Abdur Rahman Chughtai, Zainul Abedin, Shakir Ali, Zubeida Agha, Sadequain, Rasheed Araeen, and Naiza Khan. Dadi shows how, beginning in the 1920s, these artists addressed the challenges of modernity by translating historical and contemporary intellectual conceptions into their work, reworking traditional approaches to the classical Islamic arts, and engaging the modernist approach towards subjective individuality in artistic expression. In the process, they dramatically reconfigured the visual arts of the region. By the 1930s, these artists had embarked on a sustained engagement with international modernism in a context of dizzying social and political change that included decolonization, the rise of mass media, and developments following the national independence of India and Pakistan in 1947. Bringing new insights to such concepts as nationalism, modernism, cosmopolitanism, and tradition, Dadi underscores the powerful impact of transnationalism during this period and highlights the artists' growing embrace of modernist and contemporary artistic practice in order to address the challenges of the present era.
In considering medieval illustrated Buddhist manuscripts as sacred objects of cultic innovation, Receptacle of the Sacred explores how and why the South Asian Buddhist book-cult has survived for almost two millennia to the present. A book “manuscript” should be understood as a form of sacred space: a temple in microcosm, not only imbued with divine presence but also layered with the memories of many generations of users. Jinah Kim argues that illustrating a manuscript with Buddhist imagery not only empowered it as a three-dimensional sacred object, but also made it a suitable tool for the spiritual transformation of medieval Indian practitioners. Through a detailed historical analysis of Sanskrit colophons on patronage, production, and use of illustrated manuscripts, she suggests that while Buddhism’s disappearance in eastern India was a slow and gradual process, the Buddhist book-cult played an important role in sustaining its identity. In addition, by examining the physical traces left by later Nepalese users and the contemporary ritual use of the book in Nepal, Kim shows how human agency was critical in perpetuating and intensifying the potency of a manuscript as a sacred object throughout time.
Asian inspiration comprises of over 40 artists from all over the world and is an invitation into the intriguing sphere of cultural connotations and visual references of the region's philosophies, myths, traditions and popular culture from different times captured in new lights.
ATLASES. "The Continents in Close-Up" series explores individual continents through a dynamic combination of photographs, maps, artwork, diagrams, charts and short paragraphs of information. There is a page for each of the major countries and areas featuring a map showing the major cities, rivers and mountain ranges, physical information such as population and area, and other highlighted points of interest whether they be cultural, economic or natural. Another key element of these wonderful books is the thematic maps which show the whole of the continent colour coded to reflect populations densities, beliefs, climate and vegetation, ecology and environment, economy and politics and history.
This volume challenges existing notions of what is “Indian,” “Southeast Asian,” and/or “South Asian” art to help educators present a more contextualized understanding of art in a globalized world. In doing so, it (re)examines how South or Southeast Asian art is being made, exhibited, circulated and experienced in new ways in the United States or in regions under its cultural hegemony. The essays presented in this book examine both historical and contemporary transformations or lived experiences of monuments and regional styles (sites) from South or Southeast Asian art in art making, subsequent usage, and exhibition-making under the rubric of “Indian,” “South Asian,” “or “Southeast Asian” Art.
Exploring the history of art in China from its earliest incarnations to the present day, this comprehensive volume includes two dozen newly-commissioned essays spanning the theories, genres, and media central to Chinese art and theory throughout its history. Provides an exceptional collection of essays promoting a comparative understanding of China’s long record of cultural production Brings together an international team of scholars from East and West, whose contributions range from an overview of pre-modern theory, to those exploring calligraphy, fine painting, sculpture, accessories, and more Articulates the direction in which the field of Chinese art history is moving, as well as providing a roadmap for historians interested in comparative study or theory Proposes new and revisionist interpretations of the literati tradition, which has long been an important staple of Chinese art history Offers a rich insight into China’s social and political institutions, religious and cultural practices, and intellectual traditions, alongside Chinese art history, theory, and criticism