Relevant bibliographies by topics / Asian Art and Architecture

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Asian Art and Architecture'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Asian Art and Architecture"

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Siddiqi, Anooradha Iyer. "Introduction." Comparative Studies of South Asia, Africa and the Middle East 40, no. 3 (December 1, 2020): 495–506. http://dx.doi.org/10.1215/1089201x-8747480.

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Abstract Drawing from histories of art and architecture, urbanism and planning, landscape, infrastructure, and media, this themed section is premised upon framing architecture beyond the terms of aesthetics or technology toward its agency as a form of knowledge. In this introduction and the articles that follow, architecture acts as an analytic with which to formulate understanding and meaning. Through modern histories and perspectives from the South Asian subcontinent, conceptualizing “South Asia” and “architecture” broadly and inclusively, the articles turn alternately to design and structure, aesthetics and affect, and the human and nonhuman in order to redefine the primary source. From the writings of a Sri Lankan architect, a capitol for a future Bangladesh, the princely state landscapes of a German-Indian planner, films of roads in Bhutan and Kashmir, gardens in Lahore, and towers in Karachi, this collection unsettles borders, writing across South Asian nations and contested territories together to name architectures operating in archival registers. Through habitations and speculations, it reimagines pasts and futures, recasting the architectural beyond instrument, as concept.
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Kim, Hyon-Sob. "The appearance of Korean architecture in the modern West." Architectural Research Quarterly 14, no. 4 (December 2010): 349–61. http://dx.doi.org/10.1017/s1359135511000145.

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Although the general influence of the architecture of East Asian countries on the formation and development of modern architecture has been widely recognised, detailed evidence about the extent and nature of this influence has been accruing through a growing body of research. This began with Chinoiserie, a Chinese-style fashion around the eighteenth century in Europe, which was imprinted in the Rococo interior as well as in the jardin anglo-chinois with its Chinese pavilions. Then in the late nineteenth century there was a European zeal for Japanese art, Japonisme, which appeared in the Arts and Crafts Movement and Art Nouveau. Consequently, East Asian influences came to be reflected in the concepts and designs of numerous modern architects. The representative figure is the American master Frank Lloyd Wright, who adopted the spatial concept of Laozi (or Lao-Tzu) and the organic characteristics of Japanese architecture. China and Japan had also appeared in various publications and architecture played a typical role in the interchange. Also, some notable Westerners had visited China and Japan.
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Henning, Moritz, Sally Below, Christian Hiller, and Eduard Kögel. "Encounters with Southeast Asian Modernism." Tropical Architecture in the Modern Diaspora, no. 63 (2020): 85–88. http://dx.doi.org/10.52200/63.a.sv57esux.

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Against the backdrop of the Bauhaus centenary in 2019, Encounters with Southeast Asian Modernism examined the history, significance, and future of postcolonial modernism in this region, with partners in four cities – Jakarta, Phnom Penh, Singapore, and Yangon. The project provided a historical perspective on the societal and political upheaval that accompanied the transition to independence after the colonial period in these countries. It also showcased current initiatives in the fields of art, architecture, and science that are committed to the preservation and use of Modernist buildings. In 2020, the project will continue with an exhibition and accompanying program in Berlin.
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Fina, Lien Iffah Naf’atu. "Southeast Asian Islamic Art and Architecture: Re-Examining The Claim of the Unity and Universality of Islamic Art." Sunan Kalijaga: International Journal of Islamic Civilization 1, no. 2 (November 30, 2018): 171. http://dx.doi.org/10.14421/skijic.v1i2.1364.

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This paper re-examines the claim of unity and universality of Islamic art, whose discussion usually disregards Islamic art and architecture in the Southeast Asian context. The question raised is where Islamic art in the Malay world should be put before the claim of the unity and universality of Islamic art and whether this claim is, thus, still valid. To meet this objective, the two heritages of Javanese Islamic art, Demak and Cirebon mosques and wayang, are presented and analyzed before such universal claim and pre-Islamic Javanese art. These Javanese expressions have unique features compared to those from the older Muslim world. The mosques lack geometric ornamentation and Qur’anic calligraphic decoration, and are rich with symbolism. However, both the mosques and wayang also clearly express the figurative designs. Thus, this paper argues that instead of geometric designs as the unified character of Islamic art as some argue, it should be the abstraction of motifs. This way, the universal claim of Islamic art accommodates the artistic expressions from the wider regions, including those from Southeast Asia. Besides the abstraction, these Javanese artistic expressions also shares other universal character of traditional development of Islamic art; its ability to always considering the local tradition while maintaining the basic principle of Islamic art. Javanese Islamic art is both Islamic and uniquely Javanese. In the midst of globalization and the contemporary tendency towards “Islamic authentication” by importing culture and tradition from the Middle East, including the mosque architecture, the latter character is vital. It tells that any direct import and implantation of other or foreign traditions to a certain region without any process of considering the local tradition and context has no basis and legitimation in Islamic artistic tradition.
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Makhmudova, Malika, and Mukhayyo Makhmudova. "THE ROLE OF RESTORATION AND SCIENTISTS IN THE PRESERVATION OF ARCHITECTURAL MONUMENTS OF THE TEMURID PERIOD." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 575–87. http://dx.doi.org/10.17770/sie2021vol4.6290.

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The article introduces the history of researches and study of the restoration of architectural monuments of the Temurid period. The architecture of the Temurid period of the Central Asian countries and Afghanistan, covering the period from the 14thto the 15thcenturies, is one of the brightest phenomena of world architecture. Amir Temur was one of the few leaders who was not only the creator of outstanding architectural masterpieces, but was also able to form a special architectural style in his state. The gardening art of this period also reached a high development. Therefore, the study and research of the architecture of this period, as well as its restoration is an extremely important task in world architecture. In this regard, the scientific, research, restoration works of many famous scientists, architects, architects-restorers are of great importance. Among them are Mauer, Zasypkin, Pugachenkova, Mankovskaya, Notkin, Zakhidov, Kryukov, Filimonov and many others who made invaluable contribution to the formation of and the development of the restoration school of Uzbekistan, as well as in the promotion and preservation of the cultural heritage of the Temurid period both in Uzbekistan and abroad. The experience of methods of restoration and conservation of architectural monuments of the Temurid period, including their architectural, compositional and artistic solution is considered and studied in the article.
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Sinha, Vandana. "Documentation of Indo-Islamic architecture built along a 16th-century highway." Art Libraries Journal 44, no. 3 (June 12, 2019): 98–107. http://dx.doi.org/10.1017/alj.2019.14.

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An internationally recognized presence in the documentation of Indic and South East Asian art and architecture, the Center for Art and Archaeology (CA&A) of the American Institute of Indian Studies (AIIS) conducted a documentation project in 2007 that explored an interesting range of built heritage arrayed along a 16th-century highway, the Agra – Lahore route, laid by the Mughal rulers of India. The stretch of the Agra – Lahore highway this project traced, crossed two north Indian states of independent India – Haryana and Punjab, and documented built heritage that survives on that road. The documentation revealed edifices unique to a travel environment including Caravansarai (rest house), Kos-Minars (distance markers), bridges, stepped-wells and Bagh (pleasure gardens) built under the patronage of Mughal elites. The project emphasized the importance of identifying the strands of cultural heritage and the processes of documenting them. A major aim of such documentation was to aid preservation of the monuments themselves by providing critical information for future decisions.
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Chiu, Chen-Yu, Philip Goad, Peter Myers, and Nur Yıldız Kılınçer. "Jørn Utzon's synthesis of Chinese and Japanese architecture in the design for Bagsværd Church." Architectural Research Quarterly 22, no. 4 (December 2018): 339–60. http://dx.doi.org/10.1017/s1359135518000696.

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In his essay of 1983, ‘Towards a Critical Regionalism’, Kenneth Frampton referred to the Bagsværd Church as a primary exemplar, briefly citing the architect's representation of ‘the Chinese pagoda roof’ in this project, to emphasise the importance of crosscultural inspiration in the creation of ‘critical regionalism’. Peter Myers followed Frampton in his 1993 ‘Une histoire inachevée’, arguing for the significant role that Chinese architecture played as a source for Utzon's Bagsværd Church design and further variations on the theme of Chinese and Japanese exemplars on Utzon's work follows. Françoise Fromonot established the importance of the 1925 edition of the Yingzao-fashi (State Building Standard, first published in 1103 ad) and Johannes Prip-Møller's 1937 Chinese Buddhist Monasteries for Utzon; Philip Drew pointed out the significance of the work of Chinese writer Lin Yutang (1895–1976) and historian Osvald Sirén (1879–1966) as important channels through which Utzon perceived East Asian art and architecture; while in 2002, Richard Weston suggested Das Japanische Wohnhaus (1935), written by Japanese architect Tetsuro Yoshida (1894–1956), as a formational influence in Utzon's early perception of Japanese building culture. However, none of these works attempt to clarify the precise role that Chinese and Japanese precedents play in Utzon's architectural career. Two more recent studies, by Philip Goad and Michael Asgaard Andersen, have confirmed the role of Chinese architecture in Utzon's church design and have introduced new evidence and details, but there are still unanswered questions about the exact nature of these influences. This article attempts to address the detailed process of Utzon's cross-cultural practices for his design of the Bagsværd Church in order to reveal how Utzon interpreted specific ideas, ideals, and artefacts from East Asian building culture.
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Widodo, Johannes. "Current State of Modern Asian Architecture Discourse and Networking." Journal of Architectural Education 63, no. 2 (March 2010): 79–81. http://dx.doi.org/10.1111/j.1531-314x.2010.01066.x.

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Iqbal, Saira. "Scenic and Scientific Representation of Water in Mughal Architecture: A case study of ShahJahan’s Quadrangle Lahore Fort, Pakistan." Academic Research Community publication 2, no. 2 (May 27, 2018): 11. http://dx.doi.org/10.21625/archive.v2i2.485.

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Nothing is useless in this world. Everything has its specific purpose and objectives with respect to its importance. The present-day hardware and materials utilized as a part of building swallow noteworthy measure of our national vitality. Ancient monumental buildings and palaces are still a place to relax without fans, coolers and air conditioners. There is a need to study the traditional buildings because they are time-tested. Mughal Architects are legendary for their creativity. Without beauty, architecture would just be the combination and amalgamation of some material. Hence, art is the soul and spirit of architecture. Mughal Architecture is the example of “Feeling of Wonder” that is the source of aesthetic experience. Mughals showed the great skills in infusing the Islamic idea with local tradition. Water has had been an important element in Asian culture and architecture. Water is an architectural element that is extensively used in our ancient buildings and in the garden of the Mughals. Water not only pleases the eye on a hot summer day, but also provides passive cooling. This paper deals with the utilization of water not only for the purpose of beautification of the site but also for studying the scientific utility of water. This study is a mixture of basic and applied methods according to architectural research methods. The study in this research will show how Mughals used water as an eminent representation of undaunted Mughal mastery in retaining and regulating the temperature along with the beautification purpose via fountains, water channels, and pools.
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Ahmed, Ar Sayed. "THE SPIRITUAL SEARCH OF ART OVER ISLAMIC ARCHITECTURE WITH NON-FIGURATIVE REPRESENTATIONS." Journal of Islamic Architecture 3, no. 1 (September 2, 2014): 1. http://dx.doi.org/10.18860/jia.v3i1.2538.

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Art behind Islamic architecture actually based on geometric patterns, developed through a continuous practice<br />over the centuries after centuries by the influences of various earlier cultures such as Greek, Roman,<br />Byzantine, Central Asian and Persian. Basic shapes like squares and rectangles play significant role in Islamic<br />architecture.The reason is, it might recall the principles that govern the order of the world- ‘Purity’, could<br />only be resembled by pure forms. The façades built by rectangular bricks tend to shape the built form in<br />regular modules. This brickwork casts shadows in strong desert sunlight and creates a three-dimensional effect<br />as light is welcoming message from the Devine source, as it is regarded in all religions. In addition, various<br />pointed starry patterns are common practice and get extremely complex when the outer points are joined<br />together and intersections are connected in a systematic way. Another mode is based on organism of floral<br />forms which recalls the feminine nature of life giving. Again, nobody will argue about the contribution of<br />calligraphy is the most patronized art for decoration. Why have Islamic world choose this universal phenomena?<br />As Allah’s creation is pre-decided, the credit of all creativity belongs to the almighty. Also to his messenger,<br />the holy prophet; who taught us to think in this way. The world is only a shadow of real world; here man is on a<br />bewildered search. May be their firm belief; what man can perceive, can only discover the geometric forms to<br />constitute designs which were already existed before in the ‘real world’. Discovered geometric forms,<br />therefore, tries to exemplify that perfect reality because creation of Allah has been obscured by the sins of<br />mankind- Art of the complete surrender.
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Dissertations / Theses on the topic "Asian Art and Architecture"

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Tan, Eliza. "Yoshiko Shimada : art, feminism and memory in Japan after 1989." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37319/.

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This thesis investigates the intersection of art, feminism and postwar memory in Japan through lens of artist Yoshiko Shimada. Coinciding with unprecedented geopolitical shifts occurring in the final thaw of the Cold War, the year 1989 marks a fraught moment in Japan when spectres of the nation's imperialist past and its historical entanglements acquired renewed potency in the wake of Emperor Hirohito's death. Born in 159, Shimada gained international prominence in the 1990s for her critique of the national body, in particular, the relationship between women and the imperial wartime state. Her work, which unapologetically confronts Japan's WWII aggressions in Asia, its wider histories of occupation, and issues such as the fiercely contested legacies of former 'comfort women' vitally reflects on the social role and agency of art and artist in a climate of political unease emergent at Showa's close. Based on extensive interviews with the artist and research into her primary archive, this is the first comprehensive survey chronicling Shimad;s twenty-five year oeuvre. It situates her practice between two vectors: feminism in Japan and its engagement with Western scholarship, and traces the 1990s 'feminist turn' led by art historians such as Chino Kaori, who began to champion the application of gender perspectives in the study of Japanese art. Within the wider Asian region, the concurrent development of transnational women's art' networks, exhibitions and publications dovetailed with the burgeoning of performance art was protest. As one of the most outspoken feminist art activists of her generation, Shimada has borne key witness to the changing cultural conditions informing women artists' organised activities and the writing of their social histories. This interdisciplinary study incorporates a range of perspectives drawn from art history and gender studies, film and performance theory, memory and trauma studies, Japanese studies and cross-cultural scholarship. It highlights the formal and conceptual interactions between printmaking, performance, installation and lens-based media in Shimada's practice, and demonstrates the plural ways in which her reflexive aesthetics and visual strategies express the tensions and complexities characterising processes of remembering, forgetting and representing the past. By interweaving arguments about the crucial role of feminism in challenging dominant narratives of nation, race, sex and ethnicity, with critical perspectives central to discourse on postmodern Japan, questions are raised concerning the implications of gender, tradition and popular culture for art produced in this age of anxiety. The recent proliferation of problem-oriented, politically engaged practices following the 2011 Great East Japan earthquake and tsunami marks an ostensible 'return to the social' and departure from privileged tropes of 'Japaneseness' in artistic experimentation. Taking this into account, this thesis proposes that revisiting the recent history of feminist art interventions reveals valuable insights into the role of art in understanding and addressing trauma, and engaging marginalised histories and communities. This is exemplified by Shimada's work, which offers a powerful vantage point from which to contemplate art's political inflections, its social potential and the urgency of memory work both in Japan, and in our contemporary societies today.
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Ferrell, Susanna S. "Black and White: The Exhibiting of Chinese Contemporary Ink Art in European and North American Museums." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/688.

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Contemporary Chinese ink art is often seen as a part of an ongoing history in the Western art world, as opposed to a part of the contemporary. This thesis addresses the history of Chinese ink, the Westernization of the Chinese art world, and the major exhibitions of Chinese contemporary ink artwork that have been held in the Western world.
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Smith, Katherine. "Continuity and Change in a 19th Century Illustrated Devi Mahatmya Manuscript From Nepal." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3564.

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In the Hindu tradition of the Indian subcontinent, worship of the goddess has long been practiced as supreme embodiment of the divine. Around the second century, a Sanskrit Purana (ancient Hindu text that extols deities) titled the Markandeya Purana details the battles of the supreme Goddess Durga against the illusions and negative energy in the universe. This textual version of the Devi Mahatmya “Praise of the Goddess” serves as the foundation for the nineteenth century Nepalese illustrated Devi Mahatmya, commissioned by Tej Bahadur Rana from Pokhara district in Nepal. Because the folios closely follow the textual Devi Mahatmya, the illustrations’ amalgamation of styles demonstrates a double entendre of religious and political frameworks represented through Indian religious iconography with localized motifs and styles from Nepal. In this study, I argue that the illustrated Nepalese Devi Mahatmya indicates a shift in power from the Shah aristocracy to Rana oligarchy. This Devi Mahatmya contextualizes the social, religious, and historical events of nineteenth century Nepal, as a unique extension to the current scholarship about the Devi Mahatmya since it is dated and has a known patron. The intentional amalgamation of previous Newar styles, localized elements, and European décor reveals the mythical being contemporized, that is, drawing from English modernism to empower the Rana family, adding a unique flair to this manuscript as opposed to previous Devi Mahatmyas of Indian Guler or Newar style. Within the nineteenth century Nepali Devi Mahatmya, the background of this Devi Mahatmya is Guler-inspired, utilizing lightly hued backgrounds and landscapes, suggesting that the artist(s) had observed Guler compositions prior to this commission. The Nepali and Newar motifs contextualizes the Devi Mahatmyas commissioning in Pokhara, as these elements comment on the clan patriarch Jung Bahadur Rana and uncle of the patron usurping power from the Shah king, asserting a new Rana oligarchy that would last until 1951. As a result, this Devi Mahatmya is used as an offering to the goddess to legitimize Prime Minister Jung Bahadur Rana and the nephews that would follow his legacy.
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Chen, Karen Y. "Constructing Historical Truth: An Examination of the Chinese Art Market As A Reflection of China’s Concerted but Conflicted Contemporary Reconciliation with its Problematic Past." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/cmc_theses/877.

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This paper examines the connection between art and nationalism in Chinese culture and asserts that the recent market boom and price jump in Chinese fine art reflects a concerted yet conflicted effort by the Chinese government and Chinese society as a whole to reconcile with a problematic twentieth-century past. The paper first delves into the historical practice of utilizing art to construct political narratives though Ming-Qing dynasties before examining how antiquarianism was utilized by Mao Zedong himself and by the modern day Chines Communist Party.
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Helland, Madeline. "Syncretic Souvenirs: An Investigation of Two Modern Indian Manuscripts." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1185.

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The objective of this project was to establish a provenance for two Indian manuscripts that were recently discovered in the collections at Scripps College. Based on their illuminations, script, and binding structure, I was able to conclude that these two manuscripts are Hindu religious texts created around the 19th or 20th century. To determine an approximate origin and the significance of these volumes, my research focused on the syncretism of religion, material history, and power dynamics in India. Their context was specifically framed within the history of manuscript construction and conservation.
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Medema, Kara N. "Chiyo-ni and Yukinobu: History and Recognition of Japanese Women Artists." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3914.

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Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.
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Brown, Kerry Lucinda. "Dīpaṅkara Buddha and the Patan Samyak Mahādāna in Nepal: Performing the Sacred in Newar Buddhist Art." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3635.

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Every four years, in the middle of a cold winter night, devotees bearing images of 126 Buddhas, Bodhisattvas, and other important deities assemble in the Nepalese city of Patan for an elaborate gift giving festival known as Samyak Mahādāna (“The Perfect Great Gift”). Celebrated by Nepal’s Newar Buddhist community, Samyak honors one of the Buddhas of the historical past called Dīpaṅkara. Dīpaṅkara’s importance in Buddhism is rooted in ancient textual and visual narratives that promote the cultivation of generosity through religious acts of giving (Skt. dāna). During Samyak, large images of Dīpaṅkara Buddha ceremoniously walk in procession to the event site, aided by a man who climbs inside the wooden body to assume the legs of the Buddha. Once arranged at the event, Dīpaṅkara is honored with an array of offerings until dusk the following day. This dissertation investigates how Newar Buddhists utilize art and ritual at Samyak to reenact and reinforce ancient Buddhist narratives in their contemporary lives. The study combines art historical methods of iconographic analysis with a contextual study of the ritual components of the Samyak Mahādāna to analyze the ways religious spectacle embeds core Buddhist values within in the multilayered components of art, ritual, and communal performance. Principally, Samyak reaffirms the foundational Buddhist belief in the cultivation of generosity (Skt. dāna pāramitā) through meritorious acts of giving (Skt. dāna). However, the synergy of image and ritual performance at Samyak provides a critical framework to examine the artistic, religious, and ritual continuities of past and present in the Newar Buddhist community of the Kathmandu Valley. An analysis of the underlying meta-narrative and conceptualization of Samyak suggests the construction of a dynamic visual narrative associated with sacred space, ritual cosmology, and religious authority. Moreover, this dissertation demonstrates the role of Samyak Mahādāna in constructing Buddhist identity in Nepal, as the festival provides an opportunity to examine how Newar Buddhists utilize art, ritual, and performance to reaffirm their ancient Buddhist heritage.
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Paek, Seung Han. "Urbanism, Signs, and the Everyday in Contemporary South Korean Cities." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1404664900.

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Swan, Marilyn Rose. "HAYASHI YASUO AND YAGI KAZUO IN POSTWAR JAPANESE CERAMICS: THE EFFECTS OF INTRAMURAL POLITICS AND RIVALRY FOR RANK ON A CERAMIC ARTIST’S CAREER." UKnowledge, 2017. https://uknowledge.uky.edu/art_etds/15.

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The use and firing of clay to make art instead of vessels was a revolutionary concept in Japan when it first was introduced by Hayashi Yasuo in 1948 with Cloud, and expanded upon by Yagi Kazuo in 1954 with Mr. Samsa’s Walk. Although both avant-garde artists were major forces in the advancement of abstract, nonfunctional ceramics, Yagi is usually given sole credit and occupies a prominent place in the literature, while Hayashi’s name can scarcely be found, despite his numerous international awards, large body of work and career spanning seven decades. This thesis seeks to identify the factors that influenced the direction of their careers and the unbalanced reception of their work. It compares their backgrounds, personality traits, avant-garde affiliations, and positions on art and ceramics, in relation to the norms and prerequisites for success in Kyoto’s deeply stratified, convention-bound ceramic community. The pervasive practice of rating and society’s emphasis on affiliation and rank were significant forces in this situation, as were issues that divided Japan’s art world -- the separation and unequal ranking of fine art and traditional craft, or the value of individual expression versus technique and tradition. Ultimately, this study reveals an insular world during a decade (1946–56) of crisis and transition that is rarely studied in the West from the perspective of ceramic art.
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Wu, Wei. "Spreading Seeds: Ai Weiwei's Sunflower Seeds and His Performative Personality Received in the West." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1046.

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In 2010, Ai Weiwei's Sunflower Seeds made its debut in Tate Modern, which promoted Ai to be one of the most famous and respected contemporary Chinese artists. This Conceptual art work has multiple layers of meanings, which all corresponds to the Western expectations for a successful contemporary Chinese artist. In fact, the Western art world has long held bias and stereotypes towards international artists. Ai chose to perform his personality to conform to the expectations and Western ideologies, which brought him international fame. On the other hand, other Chinese artists, including Cai Guo-Qiang and Zhou Chunya, don't totally agree with these Western ideologies, and therefore their fame in the society are less distinguished than Ai.
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Books on the topic "Asian Art and Architecture"

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A companion to Asian art and architecture. Chichester, West Sussex, UK: Wiley-Blackwell, 2011.

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Brown, Rebecca M., and Deborah S. Hutton, eds. A Companion to Asian Art and Architecture. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396355.

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Buddhist art and architecture. New York: Thames and Hudson, 1993.

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Frankfort, Henri. The art and architecture of the ancient Orient. 5th ed. New Haven: Yale University Press, 1996.

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Frankfort, Henri. The art and architecture of the ancient Orient. New Haven: Yale University Press, 1996.

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Architecture of Thailand: A guide to traditional and contemporary forms. Singapore: Editions Didier Millet, 2005.

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Brian, Mertens, and Freeman Michael 1945-, eds. Architecture of Thailand: A guide to traditional and contemporary forms. London: Thames & Hudson, 2006.

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The toraṇa in Indian and Southeast Asian architecture. New Delhi: D.K. Printworld, 2010.

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Dhar, Parul Pandya. The toraṇa in Indian and Southeast Asian architecture. New Delhi: D.K. Printworld, 2010.

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Dhar, Parul Pandya. The toraṇa in Indian and Southeast Asian architecture. New Delhi: D.K. Printworld, 2010.

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Book chapters on the topic "Asian Art and Architecture"

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Brown, Rebecca M., and Deborah S. Hutton. "Revisiting “Asian Art”." In A Companion to Asian Art and Architecture, 1–20. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch1.

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Asher, Frederick. "On Maurya Art." In A Companion to Asian Art and Architecture, 421–43. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch17.

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Machida, Margo. "Convergent Conversations: Contemporary Art in Asian America." In A Companion to Asian Art and Architecture, 264–89. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch11.

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Wang, Michelle C. "Buddhist Art and Architecture in East Asia." In The Wiley Blackwell Companion to East and Inner Asian Buddhism, 424–43. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118610398.ch21.

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Mrázek, Jan. "The Visible and the Invisible in a Southeast Asian World." In A Companion to Asian Art and Architecture, 97–120. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch5.

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Mathur, Saloni. "Diasporic Body Double: The Art of the Singh Twins." In A Companion to Asian Art and Architecture, 318–38. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch13.

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Kaimal, Padma. "Shiva Nataraja: Multiple Meanings of an Icon." In A Companion to Asian Art and Architecture, 471–85. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch19.

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McGowan, Kaja M. "Sifting Mountains and Rivers through a Woven Lens: Repositioning Women and the Gaze in Fourteenth-Century East Java." In A Companion to Asian Art and Architecture, 486–512. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch20.

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Kaminishi, Ikumi. "Dead Beautiful: Visualizing the Decaying Corpse in Nine Stages as Skillful Means of Buddhism." In A Companion to Asian Art and Architecture, 513–36. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch21.

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Lee, De-Nin Deanna. "Chinese Painting: Image-Text-Object." In A Companion to Asian Art and Architecture, 561–79. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch23.

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Conference papers on the topic "Asian Art and Architecture"

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Butler, Luke, Sotiria Kogou, Yu Li, Chi Shing Cheung, Haida Liang, Annabel T. Gallop, Paul Garside, and Christina Duffy. "Machine learning analysis of illuminated Southeast Asian manuscripts using complementary noninvasive imaging techniques (Conference Presentation)." In Optics for Arts, Architecture, and Archaeology VII, edited by Piotr Targowski, Roger Groves, and Haida Liang. SPIE, 2019. http://dx.doi.org/10.1117/12.2527576.

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Bhat, Raj Nath. "Language, Culture and History: Towards Building a Khmer Narrative." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-2.

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Genetic and geological studies reveal that following the melting of snows 22,000 years ago, the post Ice-age Sundaland peoples’ migrations as well as other peoples’ migrations spread the ancestors of the two distinct ethnic groups Austronesian and Austroasiatic to various East and South–East Asian countries. Some of the Austroasiatic groups must have migrated to Northeast India at a later date, and whose descendants are today’s Munda-speaking people of Northeast, East and Southcentral India. Language is the store-house of one’s ancestral knowledge, the community’s history, its skills, customs, rituals and rites, attire and cuisine, sports and games, pleasantries and sorrows, terrain and geography, climate and seasons, family and neighbourhoods, greetings and address-forms and so on. Language loss leads to loss of social identity and cultural knowledge, loss of ecological knowledge, and much more. Linguistic hegemony marginalizes and subdues the mother-tongues of the peripheral groups of a society, thereby the community’s narratives, histories, skills etc. are erased from their memories, and fabricated narratives are created to replace them. Each social-group has its own norms of extending respect to a hearer, and a stranger. Similarly there are social rules of expressing grief, condoling, consoling, mourning and so on. The emergence of nation-states after the 2nd World War has made it imperative for every social group to build an authentic, indigenous narrative with intellectual rigour to sustain itself politically and ideologically and progress forward peacefully. The present essay will attempt to introduce variants of linguistic-anthropology practiced in the West, and their genesis and importance for the Asian speech communities. An attempt shall be made to outline a Khymer narrative with inputs from Khymer History, Art and Architecture, Agriculture and Language, for the scholars to take into account, for putting Cambodia on the path to peace, progress and development.
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Park, Eunkwang, Byeongsoo Kim, William Salim, and Adrian David Cheok. "Magic Asian art." In CHI '06 extended abstracts. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1125451.1125506.

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Farbiz, Farzam, Adrian David Cheok, and Paul Lincoln. "Automatic Asian art." In the SIGGRAPH 2003 conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965400.965457.

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Iribarne, Jorge. "The essential purpose of any Urban Project is to define Public Space." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6233.

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In that aspect, buildings role, no matter their architectural qualities, is to shape that void and give it character. If one asks people about their remembrances of cities they have visited, they usually mention places and the activities that took place there. Architecture, great or bad is the referente of Architects. Only some monuments –Eiffel Tower or Sidney´s Opera- which act as the city´s image are worth recalling. The failure of CIAM´s urbanism was not its lack of quality, even vition, as some of Le Corbusier designs clearly demostrate, but its disregard of public space, merely a left over spread between isolated building blocks and highways. A good instrument to understand this fact are the Figure/ Ground plans, in which the basic shape of buildings and voids are drawn in black and white. In the tradicional city renders, the public spaces have a clear definition, a presence of its own. In any CIAM project –mostly- or construction, the public realm is the shapless space left over by buildings, with no hint about use or limits. A clear demonstration is the no-space around the Philarmonic, the National Library and the Art Gallery in Berlin. This knowlege is sufficiently incorporated into the practice of most Western Designers, but two perverse conditions are part of the everyday´s life of entire populations in the World: In poor Countries there is an urgent need to incorporate slums to the city structure, culture and services.In Asian Cities, mainly in China, inmense areas are demolished overnight and its tradicional fabric replaced by endless rows of anonymous high rise blocks amid a maze of transport elevated structures, with no place left for pedestrians. An old text advices not to let the urgent erase the important. In today´culture both conditions are unfortunately simultaneous.
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"[Cover art]." In 2008 17th Asian Test Symposium. IEEE, 2008. http://dx.doi.org/10.1109/ats.2008.96.

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Xia, Feng, Ruonan Hao, Yang Cao, and Lei Xue. "ART-GAS." In the 7th Asian Internet Engineering Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2089016.2089032.

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"Cover Art." In 2013 22nd Asian Test Symposium (ATS). IEEE, 2013. http://dx.doi.org/10.1109/ats.2013.71.

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"[Cover art]." In 2009 18th Asian Test Symposium (ATS 2009). IEEE, 2009. http://dx.doi.org/10.1109/ats.2009.93.

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"[Cover art]." In 2010 19th Asian Test Symposium (ATS 2010). IEEE, 2010. http://dx.doi.org/10.1109/ats.2010.88.

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Reports on the topic "Asian Art and Architecture"

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Robinson, Eric. A Preliminary SKOS Implementation of the Art and Architecture Thesaurus: Machine-Actionable, Controlled Vocabulary for the Semantic Web. SOAR@USA: Scholarship and Open Access Repository, 2011. http://dx.doi.org/10.46409/sr.cdhv9180.

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Qi, Fei, Zhaohui Xia, Gaoyang Tang, Hang Yang, Yu Song, Guangrui Qian, Xiong An, Chunhuan Lin, and Guangming Shi. A Graph-based Evolutionary Algorithm for Automated Machine Learning. Web of Open Science, December 2020. http://dx.doi.org/10.37686/ser.v1i2.77.

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As an emerging field, Automated Machine Learning (AutoML) aims to reduce or eliminate manual operations that require expertise in machine learning. In this paper, a graph-based architecture is employed to represent flexible combinations of ML models, which provides a large searching space compared to tree-based and stacking-based architectures. Based on this, an evolutionary algorithm is proposed to search for the best architecture, where the mutation and heredity operators are the key for architecture evolution. With Bayesian hyper-parameter optimization, the proposed approach can automate the workflow of machine learning. On the PMLB dataset, the proposed approach shows the state-of-the-art performance compared with TPOT, Autostacker, and auto-sklearn. Some of the optimized models are with complex structures which are difficult to obtain in manual design.
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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