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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.
Buddhist temples in Southeast Asia are centers for the preservation of local artistic traditions. Chief among these are manuscripts, a vital source for our understanding of Buddhist ideas and practices in the region. They are also a beautiful art form, too little understood in the West. The British Library has one of the richest collections of Southeast Asian manuscripts, principally from Thailand and Burma, anywhere in the world. It includes finely painted copies of Buddhist scriptures, literary works, historical narratives, and works on traditional medicine, law, cosmology, and fortune-telling. Buddhism Illuminated includes over one hundred examples of Buddhist art from the Library’s collection, relating each manuscript to Theravada tradition and beliefs, and introducing the historical, artistic, and religious contexts of their production. It is the first book in English to showcase the beauty and variety of Buddhist manuscript art and reproduces many works that have never before been photographed.
Southeast Asia, that immense region stretching from India to the Far East, encompasses Indochina (Vietnam, Laos, Cambodia, Myanmar - the former Burma - and Thailand), Malaysia, Indonesia, and the Philippines. Each country is endowed with its own national artistic identity and its own cultural heritage. At the same time, all gain strength from their common Asian identity. In a series of essays, a group of highly regarded scholars examine the mix of significant influences that have shaped the region's art. Of various nationalities, most have traveled, lived, and taught in Asia and are fluent in one or more Asian languages. Both the educated reader and the expert will find much that is new in these pages.
Modern Art of Southeast Asia: Introductions from A to Z features 60 concise and accessibly written accounts of the key ideas and currents underlying modern art in the region. These are accompanied by over 250 beautifully reproduced artworks from the collection of National Gallery Singapore, and other public and private collections in Southeast Asia and beyond. The book offers an informative first encounter with art as well as refreshing perspectives, and is a rewarding resource for students.
This basic dictionary of South and Southeast Asian art offers clear and concise explanations of hundreds of useful terms. With over 1,300 entries and 112 line illustrations, this volume makes a handy reference for anyone interested and engaged in South and Southeast Asia Entries range from terms encountered in South and Southeast Asian history, religion, mythology, literature, to those specific to art and architecture, and are drawn from the diverse religious traditions of the region.
To commemorate the centenary of artist Sukumar Bose (1912–1986), this book attempts to take an incisive look at the artist, his works and the context of his art production in South and Southeast Asia. Bose’s art varied from the traditional to the decorative and ornamental, with a hint of the Oriental flavour. His work demonstrated traces of the Bengal School styles of Abanindranath Tagore and AR Chugtai. Be it figurative, landscape or abstract, Bose’s art synthesized the decorative elements of Indo-Persian miniatures with Chinese and Japanese techniques. In this context, his vision and passion were inspired by traditional art forms, including Ajanta, Rajput and Mughal miniatures. His incisive observations of life, people and cultures, during colonial and postcolonial India and his later sojourn into Southeast Asia, emerge as both a contested yet seamless narrative of history and hope in his art. This book is the first of its kind to document and give a critical overview of Sukumar Bose.
"The pagodas of Burma, the temples of Angkor, the great Buddhist monument of Borobudur - these achievements of powerful courts and rulers are the most familiar part of a broad artistic tradition that includes textiles, sculpture, offers new insights into the interpretation and importance of Southeast Asian art, and local artistis are embracing new subjects and media as the area opens up to world travel and communication. Covering Brunei, Burma, Cambodia, Indonesia, Laos, Malaysia, the Philippines, Singapore, Thailand and Vietnam, Dr Kerlogue examines the roots and development of the arts of this distinctive region from prehistory to the present day. The book traces the reflection of indigenous beliefs and world religions - Hinduism, Buddhism, Islam and Christianity - in artistic expression, arriving at an exploration of the post-colonial period."--Back cover.
In recent years, the Dallas Museum of Art has expanded its collection of South Asian art from a small number of Indian temple sculptures to nearly 500 works, including Indian Hindu and Buddhist sculptures, Himalayan Buddhist bronze sculptures and ritual objects, artwork from Southeast Asia, and decorative arts from India's Mughal period. Artworks in the collection have origins from the former Ottoman empire to Java, and architectural pieces suggest the grandeur of buildings in the Indian tradition. This volume details the cultural and artistic significance of more than 140 featured works, which range from Tibetan thangkas and Indian miniature paintings to stone sculptures and bronzes. Relating these works to one another through interconnecting narratives and cross-references, scholars and curators provide a broad cultural history of the region. Distributed for the Dallas Museum of Art
The arts of the Indian subcontinent and of those surrounding lands ("Greater India") that fell under its artistic influence are here given an unrivaled pictorial treatment. The splendid illustrations and informative text of this book carry the story from the earliest evidence of civilization at such sites as Mohenjo-Daro and Harappa in the third millennium B.C. to the exquisite products of the Rajput and Pahari schools of miniature painting. Professor Munsterberg explains how, after the collapse of the Indus Valley civilization, the visual arts languished for over a thousand years until there occurred an astonishing revival of art in the service of Buddhism. We then witness the emergence of Hinduy art in the seventh century A.D. The great temples of this so-called Hindu Medieval period, which lasted until the Moslem conquest of northern India in the thirteenth century, surpass anything that was being produced in the West at the time. This volume embraces a vast area that includes approximately one-third of the world's population and covers a period of some five thousand years. -- From publisher's description.
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.