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The book examines ‘wildmen’such as Homo floresiensis and ebu gogo, images of hairy humanlike creatures known to rural villagers and other local people in Southeast Asia and elsewhere. It explores the source of these representations and their status in local systems of knowledge.
Southeast Asia has a long history with Buddhism that continues to the present day. Centuries ago, Buddhism spread to various areas of Southeast Asia, where some of the greatest Buddhist images and monuments were produced over 1,000 years ago. These include the majestic Borobudur in Central Java and Angkor Thom in Cambodia. Images of the Bodhisattva Avalokitesvara in bronze were also produced in large numbers at this time.0This book deals with images of Avalokitesvara that are unique to specific countries of Southeast Asia: Indonesia, Thailand, Vietnam and Cambodia. It introduces a wider audience to the beauty and originality of Southeast Asian art. The text focuses on specific forms of Avalokitesvara images found in the different regions of Southeast Asia, illustrating the local developments of Buddhist art. This includes an exploration of both iconography and style, but will also highlight the continuous desire of the artists to portray the compassion for which Avalokitesvara is known. Even in today?s modern world, the idea of compassion becomes ever more vital and the Bodhisattva remains popular among all Buddhists. This book would be a source of knowledge, but perhaps most importantly, fantastical and beautiful images that in themselves are a comfort as they radiate the quality of Avalokitesvara: compassion.
Food as a daily meal or as a religious offering is fundamental to the cultures of South-East Asia and is a source of utmost enjoyment to its people. Methods of preparing tasty and economical meals are often discussed with passion, and sacrifices to gods and spirits are invariably conducted with great rejoicing. This book explores the multifaceted aspects of food in South-East Asia. Beginning with a historical and sociological survey of South-East Asian food and eating habits, it goes on to discuss the ingredients and spices used in the region, the character of the food markets, the changing styles of the kitchens, and the different styles of cooking and eating from the past to the present. A final chapter examines common South-East Asian sayings based on the food and culinary habits of the region.
British artists and commentators in the late 18th and early 19th century encoded the twin aspirations of progress and power in images and descriptions of Southeast Asia’s ruined Hindu and Buddhist candi, pagodas, wats and monuments. To the British eye, images of the remains of past civilisations allowed, indeed stimulated, philosophical meditations on the rise and decline of entire empires. Ruins were witnesses to the fall, humbling and disturbingly prophetic prompts to speculation on imperial failure, and the remains of the Buddhist and Hindu monuments scattered across Southeast Asia proved no exception. This important study of a highly appealing but relatively neglected body of work adds multiple dimensions to the history of art and image production in Britain of the period, showing how the anxieties of empire were encoded in the genre of landscape paintings and prints.
Presents works of art selected from the South and Southeast Asian and Islamic collection of The Metropolitan Museum of Art, lessons plans, and classroom activities.
The latest historical and anthropological archaeology, epigraphy, and art history on Southeast Asia, these articles offer new understandings of classical Hindu and Buddhist cultures of Southeast Asia and their relationship to the regionÍs medieval cultures. The articles are presented under four headings: Art, religion and politics (Buddhist monuments in Java and Cambodia); Southeast Asian transformations (cultural exchange with South Asia); Technology (workmanship in art and material culture); and Southeast Asia between past and present.
With dozens of rare color maps and other documents, Early Mapping of Southeast Asia follows the story of map-making, exploration and colonization in Asia from the 16th to the 19th centuries. It documents the idea of Southeast Asia as a geographical and cosmological construct, from the earliest of times up until the down of the modern era. using maps, itineraries, sailing instructions, traveler's tales, religious texts and other contemporary sources, it examines the representation of Southeast Asia, both from the historical perspective of Western exploration and cartography, and also through the eyes of Asian neighbors. Southeast Asia has always occupied a special place in the imaginations of East and West. This book recounts the fascinating story of how Southeast Asia was, quite literally, put on the map, both in cartographic terms and as a literary and imaginative concept.
Introducing Photographies East, Rosalind C. Morris notes that although the camera is now a taken-for-granted element of everyday life in most parts of the world, it is difficult to appreciate “the shock and sense of utter improbability that accompanied the new technology” as it was introduced in Asia (and elsewhere). In this collection, scholars of Asia, most of whom are anthropologists, describe frequent attribution of spectral powers to the camera, first brought to Asia by colonialists, as they examine the transformations precipitated or accelerated by the spread of photography across East and Southeast Asia. In essays resonating across theoretical, historical, and geopolitical lines, they engage with photography in China, Japan, Taiwan, and Thailand, and on the islands of Aru, Aceh, and Java in what is now Indonesia. The contributors analyze how in specific cultural and historical contexts, the camera has affected experiences of time and subjectivity, practices of ritual and tradition, and understandings of death. They highlight the links between photography and power, looking at how the camera has figured in the operations of colonialism, the development of nationalism, the transformation of monarchy, and the militarization of violence. Moving beyond a consideration of historical function or effect, the contributors also explore the forms of illumination and revelation for which the camera has offered itself as instrument and symbol. And they trace the emergent forms of alienation and spectralization, as well as the new kinds of fetishism, that photography has brought in its wake. Taken together, the essays chart a bravely interdisciplinary path to visual studies, one that places the particular knowledge of a historicized anthropology in a comparative frame and in conversation with aesthetics and art history. Contributors. James L. Hevia, Marilyn Ivy, Thomas LaMarre, Rosalind C. Morris, Nickola Pazderic, John Pemberton, Carlos Rojas, James T. Siegel, Patricia Spyer