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Study of the Gurudwara Shri Guru Ram Rai Saheb, Dehradun, Uttaranchal, India.
Rethinking Visual Narratives covers topics from the first millennium B.C.E. through the present day, testifying to the enduring significance of visual stories in shaping and affirming cultural practices in Asia. Contributors analyze how visual narratives function in different Asian cultures and reveal the multiplicity of ways that images can be narrated beyond temporal progression through a particular space. The study of local art forms advances our knowledge of regional iterations and theoretical boundaries, illustrating the enduring importance of pictorial stories to the cultural traditions of Asia. Contributors include Dominik Bonatz (Archaeologist Free University of Berlin), Sandra Cate (San Jose State University), Yonca Kösebay Erkan (Kadir Has University), Charlotte Galloway (Australian National University), Mary Beth Heston (College of Charleston), Yeewan Koon (The University of Hong Kong), Sonya S. Lee (University of Southern California), Leedom Lefferts (Drew University), Dore J. Levy (Brown University), Shane McCausland (School of Oriental and African Studies, University of London), Julia K. Murray (University of Wisconsin-Madison), Catherine Stuer (Denison University), Greg M. Thomas (The University of Hong Kong), Sarah E. Thompson (Rochester Institute of Technology), and Mary-Louise Totton (Western Michigan University).
Across the globe there are scores of beautiful and unusual works of art that are largely unseen or fail to receive the critical acclaim they deserve. The Best Art You've Never Seen is your essential companion to this hidden world of artistic treasures. Travelling from Peru to Papua New Guinea, The Best Art You've Never Seen restores to view 101 wonderful treasures - uncovering neglected artistic wonders from off-beat corners of the world to store rooms in the world's great museums. Written by art expert and former museum director Julian Spalding, The Best Art You've Never Seen takes you into a world of beautiful and arresting artefacts and reveals their amazing stories. It unveils a surprising and unfamiliar alternative canon of works to offer a fresh and controversial take on the world of art.
Rabbi Bernie Raskas has been living and teaching his faith for over 50 years. He offers witty, yet practical, commentary on life, faith, and spirituality.
Comprising 45 chapters, written especially for this volume by an international team of leading experts, The Routledge Companion to the Philosophies of Painting and Sculpture is the first handbook of its kind. The editors have organized the chapters across eight broader sections: Artforms History Questions of form, style, and address Art and science Comparisons among the arts Questions of value Philosophers of art Institutional questions Individual topics include art and cognitive science, evolutionary origins of art, art and perception, pictorial realism, artistic taste, style, issues of race and gender, art and religion, art and philosophy, and the end of art. The work of selected philosophers is also discussed, including Diderot, Hegel, Ruskin, Gombrich, Goodman, Wollheim, and Danto. With an introduction from the editors and comprehensively indexed, The Routledge Companion to the Philosophies of Painting and Sculpture serves as a point of entry to the subject for a broad range of students as well as an up-to-date reference for scholars in the field.
Besides the efforts that are of a descriptive and celebrative nature, studies related to Sri Lanka's historical built heritage largely view material remains in historical, sociological, socio-historical and semiological perspectives. There is hardly any serious attempt to view such material remains from a technical-analytical approach to understand the compositional aspects of their design. The 5th century AC royal complex at Sigiriya is no exception in this regard. The enormous wealth of information and the material remains unearthed during more than 100 years of field-based research by several generations of archaeologists provide an ideal opportunity for such analysis. The Sigiriya Royal Gardens fills the gap in research related to Sri Lanka's historical built heritage in general, and to Sigiriya in particular. Therefore, the present research attempts to read Sigiriya as a landscape architectonic design to expose its architectonic composition and design instruments.
The journey from Washington had been stupid. An early November afternoon sky heavy with threatening snow, her nerves tense with expectation, made the girl feel that the big city once reached her troubles would be over; but at Jersey City they began. After a few blunders she reached the 23rd Street ferry and noted the snow falling in the foggy river. Her baggage had been checked to the hotel and she had nothing to do but climb into a hansom and direct the driver to west 25th Street. She made a tentative bargain with the man. Easter was prudent because she had little money. The hotel—it was in reality two old-fashioned houses with high steps and brown stone façades, the conventional residence of the early eighties—did not impress her; besides, it was snowing so thickly that she could hardly distinguish anything, and when she was admitted into the hall the light dazzled her eyes. She felt lonely, timid, uncomfortable. A tall, portly lady saluted her...FROM THE BOOKS.