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While the color kittens are trying to make green paint, their mixing leads to pink, orange, and purple.
The Neolithic rock images of Iheren, Algeria are the starting point for Augustin Holl's careful analysis of the iconography of Saharan rock art. Created in the third millennium B.C., the Iheren murals are over 3 meters wide and contain multiple compositions that present an allegorical depiction of the lifeways of Tassilian pastoralists in the Sahara. Holl approaches his task as an archaeologist, examining the various strands of evidence icons, ideas, motifs, colors, and sizes-and weaving them together into a story that offers a window on the pastoralist worldview through the semiotics of their art. His deconstruction and synthesis of this corpus of material should be of interest to African archaeologists, rock art specialists, art historians, and cultural anthropologists alike."
This volume includes the editorial “The absconded subject of Pop,” by Thomas Crow; “Enlivening the soul in Chinese tombs,” by Wu Hung; “On the ‘true body’ of Huineng,” by Michele Matteini; “Apparition painting,” by Yukio Lippit; “Immanence out of sight,” by Joyce Cheng; “Absconding in plain sight,” by Roberta Bonetti; “Ancient Maya sculptures of Tikal, seen and unseen,” by Megan E. O’Neil; “Style and substance, or why the Cacaxtla paintings were buried,” by Claudia Brittenham; “The Parthenon frieze,” by Clemente Marconi; “Roma sotterranea and the biogenesis of New Jerusalem,” by Irina Oryshkevich; “Out of sight, yet still in place,” by Minou Schraven; “Behind closed doors,” by Melissa R. Katz; “Moving eyes,” by Bissera V. Pentcheva; “‘A secret kind of charm not to be expressed or discerned,’” by Rebecca Zorach; “Ivory towers,” by Richard Taws; “Boxed in,” by Miranda Lash; “A concrete experience of nothing,” by William S. Smith; “Believing in art,” by Irene V. Small; “Repositories of the unconditional,” by Gabriele Guercio; “From micro/macrocosm to the aesthetics of ruins and waste-bodies,” by Jeanette Zwingenberger; “Are shadows transparent?” by Roberto Casati; “Invisibility of the digital,” by Boris Groys; “Des formes et des catégories,” by Remo Guidieri; and “Further comments on ‘Absconding,’” by Francesco Pellizzi.
Bridging the worlds of ancient Tibet and modern-day India, Painted Oxen weaves a tale of two men--one young, one old--on parallel journeys. Their separate-but-connected pilgrimages are equal parts internal and external. The old man, a Tibetan monk, is searching for a sacred hidden valley known to bring enlightenment to those who enter it. The young man is backpacking through India, searching for a guru or the love of his life; he doesn't care which. A mysterious red-haired woman who resembles an ancient goddess appears in a series of dream chapters that tie the two journeys together.
Immerse yourself in the discomfiture of five couples who are virtual strangers when they agree to wed for practical reasons. Emily marry Steven for the sake of his children. Regina’s family has arranged for Diedrich to come from Germany as her groom. Chiquita is bartered in marriage to Eduardo to cover her father’s debts. Pearl accepts Jason’s hasty proposal to help him run his family’s farm. Sarah Jane is forced to marry Painted Hands, a trail scout, for propriety’s sake. Can romance develop despite awkward beginnings?
This book discusses the most creative and entertaining events of Chinese festivals that have been celebrated with traditional and updated activities. Most ethnic groups are considered through the select materials that contain textual or visual messages for international readers. Related folk traditions and customs are often introduced to provide information for understanding the continuity, polarity and pluralism of Chinese culture. These focuses are presented with historical documents and collected artworks that are helpful for the academic studies of ethnic tradition and fine arts. In addition, relevant poems are selected and rendered into comparable English poetic stanzas. For authenticity, pinyin with tone accompanies most culture-specific words or texts, and this book may be especially helpful for teachers and students of the Chinese language or those who want to speak or write it naturally.
This extraordinary on-the-page class in brush painting explores both the technical and spiritual aspects of China’s ancient art, helping students to paint with confidence, skill, and understanding. Lavishly packed with breathtaking illustrations and detailed instructional photos, it discusses materials, styles, and themes, as well as special topics such as the influence of calligraphy on painting, the importance of arranging the workspace properly, and the use of a seal to "sign” the finished work. Each chapter is like a perfectly formed monograph rich in information on inks, papers, art utensils, holding the brush correctly, making exquisite-looking strokes and pictograms, applying color, and mastering the techniques for representing vegetation, animals, the human figure, portraits, and evocative landscapes. Well-constructed practice exercises complete this enlightening course.