Academic literature on the topic 'Far Eastern Art objects'
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Journal articles on the topic "Far Eastern Art objects"
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Grigoreva, Marina Borisovna. "Leading transformation techniques of the traditional Japanese decorative art in design of modern restaurants." Культура и искусство, no. 7 (July 2020): 47–58. http://dx.doi.org/10.7256/2454-0625.2020.7.33019.
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This article is aimed at studying and systematization of key techniques in designing ethnic interior, namely in Japanese restaurants located in Russia. The research defines the difference in perception of space in Japanese and European culture, as well as determines usage of traditional and innovative solution methods of an artistic image. In practice, the conducted research may become an evaluation category in analysis of creative techniques of modern authors who implement Far Eastern theme in designing restaurant environment. The subject of this research is the artistic and decorative approaches in the context of interpretation of authentic Japanese environment. Within the framework of established approaches, the author determines the additional design solution methods. The object of this research is the restaurants of Japanese cuisine that are located in Russia and designed by European authors. The novelty consists in systematization of the key compositional techniques in design of modern restaurants with ethnic concept in Russia. It is established that the leading approach in design is the interpretation of components borrowed from authentic architectural objects and decorative art, as well as formation of associative impressions for reflecting the ethnic theme. The approach based on interpretation of the known by European recipient architectural and decorative techniques of object-spatial environment is dominant, which allows viewing the elements of interior and traditional decorative art as a leading component of authentic culture that undergoes stylization in formation of an artistic image of modern restaurants.
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Radu, Magda. "“What We Think about the Object Is Far More Important Than Its Making”: Some Notes on Horia Bernea's Early Works." ARTMargins 2, no. 3 (October 2013): 63–86. http://dx.doi.org/10.1162/artm_a_00061.
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The text analyzes the early activity of the Romanian artist Horia Bernea (1938–2000), putting it in conjunction with various aspects of conceptual art. It emphasizes points of contact between Bernea's practice and the existing narratives of conceptual art (including the Eastern European ones) and it provides contextual information about the artistic and socio-political environment in Romania during the period of liberalization which debuted at the end of the 1960s and lasted for a few years. The text mainly focuses on a close reading of some Bernea's works which were made in this timeframe, namely the Production Charts series and his investigation of the “post-cognitive iconography” formed by a family of “Entities” with invented names and morphologies.
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Wright, Duncan, Glenn van der Kolk, and Dauareb community. "Ritual pathways and public memory: Archaeology of Waiet zogo in Eastern Torres Strait, far north Australia." Journal of Social Archaeology 19, no. 1 (May 10, 2018): 116–38. http://dx.doi.org/10.1177/1469605318771186.
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The materiality of performative ritual is a growing focus for archaeologists. In Europe, collective ritual performance is expected to be highly structured with ritual often resulting in a loud archaeological signature. In Australia and Papua New Guinea, ritual (and collective ritual movement) is also highly structured; however, materiality and permanence are frequently secondary to intangible and/or impermanent considerations. In this paper, we apply the framework of public memory to places and objects associated with the Waiet cult in Eastern Torres Strait. We explore the extent to which ritual performance spanning multiple islands can survive through archaeology, as well as whether ethno-archaeology and history provide insight into the structured and highly political process by which rituals were remembered, celebrated and forgotten.
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Tetenkin, A. V., O. V. Zhmur, E. I. Demonterova, E. V. Kaneva, and N. V. Salnaya. "Ivory Figurines and the Symbolic Context of a Paleolithic Dwelling at Kovrizhka IV on the Lower Vitim River, Eastern Siberia." Archaeology, Ethnology & Anthropology of Eurasia 46, no. 4 (December 23, 2018): 3–12. http://dx.doi.org/10.17746/1563-0102.2018.46.4.003-012.
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One of the most important recent discoveries made on the Vitim River (Baikal-Patom plateau, Eastern Siberia) is that of a Paleolithic dwelling at Kovrizhka IV, layer 6. It reveals markers of symbolic activity, such as two anthropomorphic ivory figurines. They were associated with a likewise non-utilitarian context: reiterating boulder and slab pavements, ocher on lithics, on a figurine, and around, evidence of manipulations with the central hearth in the dwelling. One of the figurines shows a triangle pointing downward and possibly rendering the pubes, as in female figurines. Stylistically it resembles Neolithic and Bronze Age anthropomorphic figurines from the Baikal area. Its head, painted with ocher, was directed eastwards. The second ivory figurine has a contour barely reminiscent of the human body. There is no engraving on it. Near its head, a cluster of ocher pieces was found. The radiocarbon date of the dwelling is ca 15.7 ka BP. The two figurines and a fragment of a graphite pendant are the first objects of portable art to be found in the area north of Lake Baikal. The first figurine is thus far the only unambiguously anthropomorphic Upper Paleolithic representation from northeastern Siberia.
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Michailidis, Melanie. "Samanid Silver and Trade along the Fur Route." Medieval Encounters 18, no. 4-5 (2012): 315–38. http://dx.doi.org/10.1163/15700674-12342119.
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Abstract While much scholarly attention has been devoted to cultural exchange in recent years, most of the focus has been on the Mediterranean Sea and the land and sea routes connecting China to the Islamic world and beyond to Europe. In the tenth century, another major trading route also flourished between Central Asia and northeastern Europe. Furs and slaves were sent from Scandinavia, Russia and Eastern Europe in exchange for silver which was mined in the realm of the Samanids in Central Asia. Not only were Samanid coins used as currency by the Vikings, but Samanid luxury metalwork objects have also been found in Europe. Using the evidence of such finds, this paper posits the Fur Route as a major avenue of cultural interchange in the Middle Ages and the Samanids as important actors on the medieval global stage. An examination of their far-flung trading connections along the Fur Route not only reveals transmission between these regions, but also reiterates the importance of the Samanids in the history of Islamic art and in that of the broader medieval world.
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Lepekhov, Sergey. "THE CONCEPTION OF ILLUSIONARY EXISTENCE IN THE «RATNA-GUNA-SAMCAYA-GĀTHĀ»." Culture of Central Asia: written sources 13 (December 16, 2020): 3–31. http://dx.doi.org/10.30792/2304-1838-2020-13-3-31.
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The main subject of this paper are the possible ways of forming the concept of illusion (māyopamavada) in the philosophy of Madhyamaka. A special place in this process is occupied by the early prajñāpāramitā sutras. One of the objects of research is the prajñāpāramitā Sutra “Ratna-guna-samcaya-gāthā” (“Prajñāpāramitā in Verses about the Accumulation of Precious Qualities”). Due to the Prajñāpāramitā texts, the Buddhist idea of the illusionary existence became an essential part of the far Eastern culture and art. On the example of “Ratna-guna-samcaya-gāthā”, we can see the dynamics of the concept of “illusory world” how it was formed in the Prajñāpāramitā texts. As an example of further development of the concept and its application to the philosophical ideas of Madhyamaka, are used individual texts of Nāgārjuna (“Ratnāvalī”, “Yuktiṣāṣṭika”, “Lokātīta-stava”). Some variants of the issues of reference and designation (namely, the need to correlate the reference, denotate and designate with the object, and in turn, with the localization of the intensional, i.e., the meaning of the concept and the extensional one) are compared as in modern logic and the solutions, proposed by madhyamikas. The new approach to the study of Madhyamaka as a “philosophy of language” suggests very promising opportunities for study of both logical and philosophical heritage of Nāgārjuna and its connection with the entire previous prajñāpāramitā tradition. The Appendix contains a translation of the seven final chapters (XXVI–XXXII) of “Ratna-guna-samcaya-gāthā” from Sanskrit and Tibetan into Russian.
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Helmke, Christophe. "UNDER THE LORDLY MONARCHS OF THE NORTH: THE EPIGRAPHY OF NORTHERN BELIZE." Ancient Mesoamerica 31, no. 2 (2020): 261–86. http://dx.doi.org/10.1017/s0956536119000348.
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AbstractThe hieroglyphic texts of northern Belize are remarkable for their longevity, spanning from the Late Preclassic to the Late Postclassic (ca. 100 b.c –a.d. 1544). Together, these texts constitute an invaluable body of information that has thus far been generally overlooked and has not been integrated into larger syntheses of the region. This paper provides a diachronic review of the glyphic texts of northern Belize and contrasts them to the wider historical processes of the eastern Maya lowlands. A definition of the northern Belizean region precedes an outline of the corpora of monuments, as well as the textual sources on portable objects. This provides an historical review of northern Belize from the incipience of royalty to the eve of the Spanish Conquest.
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Guo, Yanlong. "Iconographic Volatility in the Fuxi-Nüwa Triads of the Han Dynasty." Archives of Asian Art 71, no. 1 (April 1, 2021): 63–91. http://dx.doi.org/10.1215/00666637-8866680.
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Abstract Over the span of some two hundred years, from the late Western Han to the late Eastern Han, triad images featuring a prominent central being flanked by two smaller, snake-bodied figures, occurred on murals and carved stones in Henan, Shandong, and adjacent areas. The iconographic schema of the flanking figures, Nüwa and Fuxi, appears mature and stable, with their identities consistently determined by their half-human, half-serpent, and gendered bodies as well as by the divine objects they hold—sun and moon, compass and T square, numinous mushrooms. The iconography of the third being, however, appears far less consistent and somewhat elusive, yielding many different identifications by scholars. The seemingly anomalous pictorial program speaks to the issue of iconographic volatility in Han art. Looking across the corpus of triad images, this essay identifies the volatile third being as the Grand One, and proposes that its figural metamorphoses were predicated on the amorphousness of the supreme deity of Daoist cosmogony. Distilling the three most important formal aspects of the Grand One—a therianthropic being, a forceful facilitator, and a regal icon—this essay argues that the triad images embodied a coherent program depicting the cosmogonic origin of the world that began with the Grand One conjugating yin and yang, associated with Nüwa and Fuxi respectively. The emergence of this triad imagery coincided with evolving Daoist thought during the Han dynasty.
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Geyer, Gerd, Miguel Caldeira Pais, and Thomas Wotte. "Unexpectedly curved spines in a Cambrian trilobite: considerations on the spinosity in Kingaspidoides spinirecurvatus sp. nov. from the Anti-Atlas, Morocco, and related Cambrian ellipsocephaloids." PalZ 94, no. 4 (February 25, 2020): 645–60. http://dx.doi.org/10.1007/s12542-020-00514-x.
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Abstract The new ellipsocephaloid trilobite species Kingaspidoides spinirecurvatus has a spectacular morphology because of a unique set of two long and anteriorly recurved spines on the occipital ring and the axial ring of thoracic segment 8. Together with the long genal spines this whimsical dorsally directed spine arrangement is thought to act as a non-standard protective device against predators. This is illustrated by the body posture during different stages of enrolment, contrasting with the more sophisticated spinosities seen in later trilobites, which are discussed in brief. Kingaspidoides spinirecurvatus from the lower–middle Cambrian boundary interval of the eastern Anti-Atlas in Morocco has been known for about two decades, with specimens handled as precious objects on the fossil market. Similar, but far less spectacular, spine arrangements on the thoracic axial rings are known from other ellipsocephaloid trilobites from the Anti-Atlas of Morocco and the Franconian Forest region of Germany. This suggests that an experimental phase of spine development took place within the Kingaspidoides clade during the early–middle Cambrian boundary interval.
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Betts, Matthew w., Mari Hardenberg, and Ian Stirling. "How Animals Create Human History: Relational Ecology and the Dorset–Polar Bear Connection." American Antiquity 80, no. 1 (January 2015): 89–112. http://dx.doi.org/10.7183/0002-7316.79.4.89.
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AbstractCarvings that represent polar bears (Ursus maritimus) are commonly found in Dorset Paleo-Eskimo archaeological sites across the eastern Arctic. Relational ecology, combined with Amerindian perspectivism, provides an integrated framework within which to comprehensively assess the connections between Dorset and polar bears. By considering the representational aspects of the objects, we reveal an ethology of polar bears encoded within the carvings’ various forms. Reconstructing the experiences and perceptions of Dorset as they routinely interacted with these creatures, and placing these interactions in socioeconomic, environmental, and historical context, permits us to decode a symbolic ecology inherent in the effigies. To the Dorset, these carvings were simultaneously tools and mnemonics (symbols). As tools, they were used to directly access the predatory and spiritual abilities of bears or, more prosaically, to teach and remind of the variety of proper hunting techniques available for capturing seals. As symbols, however, they were far more powerful, signaling how Dorset people conceptualized themselves and their place in the universe. Symbolic of an ice-edge way of life, the effigies expose the role that this special relationship with polar bears played in the creation of Dorset histories and identities.
Dissertations / Theses on the topic "Far Eastern Art objects"
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Li, Chen. "Han Dynasty (206BC-AD220) stone carved tombs in Central and Eastern China." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:bca2d725-eca3-4d10-bc5f-f77fb0228ece.
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This thesis studies Han Dynasty stone carved tombs in Central and Eastern China. These multi-chambered tombs were constructed from carved stone slabs, and were very popular among the Han people. However, such horizontal stone structures were entirely new, and were a result of outside stimuli rather than an independent development within China. The stone carved tombs were a result of imitating royal rock-cut tombs, while the rock-cut tombs were stimulated by foreign examples. Moreover, many details of stone carved tombs also had Western features. These exotic elements were incorporated to satisfy specific requirements of the Han people, and reflected the desire to assimilate exotica within Chinese traditions. Some details within stone carved tombs showed high level of stone working technologies with Western influences. But in general the level of stone construction of the Han period was relatively low. The methods of construction showed how unfamiliar the Western system was to the Han artisans. Han Dynasty stone carved tombs were hybrids of different techniques, including timber, brick and stone works. From these variations, Han people could choose certain types of tombs to satisfy their specific ritual and economic needs. Not only structures, but also pictorial decorations of stone carved tombs were innovations. The range of image motifs is quite limited. Similar motifs can be found in almost every tomb. Such similarities were partly due to the artisans, who worked in workshops and used repertoires for the carving of images. But these also suggest that the tombs were decorated for certain purposes with a given functional template. Together with different patterns of burial objects and their settings, such images formed a way through which the Han people gave meaning to the afterworld. After their heyday, stone carved tombs ceased being constructed in the Central Plains as the Han Empire collapsed. However, they set a model for later tombs. The idea of building horizontal stone chamber tombs spread to Han borderlands, and gradually went further east to the Korean Peninsula. The legacy and spread of the Chinese masonry tradition was closely related to the political circumstances of late Han and post-Han period. The spread of stone chamber tombs in Northeast Asia is presented as a part of a long history of interactions between different parts of Eurasia.
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Chen, Xuan. "Eastern Han (AD 25-220) tombs in Sichuan." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:be49570b-b40c-45ac-a2e3-d17e9f3516ce.
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This thesis concerns the factors underlying the popularity of the cliff tomb, a local burial form in the Sichuan Basin in China in the Eastern Han dynasty (AD 25-220). The development of the cliff tomb was held in a complex set of connections to the development of the burial forms, and existed through links to many other contemporary burial forms, the brick chamber tomb, the stone chamber tomb, and the princely rock-cut tomb. These connections and links formed to a large extent through the incorporation of the Sichuan area into the empire which began in the fourth century BC. It was in this context, a series of factors contributed to the formation and popularity of the cliff tombs in Sichuan. The hilly topography and the soft sandstone, easy to cut, provided the natural condition for the development of the cliff tombs. The decision to make use of this natural condition was affected by many factors rooted in the social background. The inherent nature of the cliff tomb structure was fully explored, which was then followed by a series of corresponding innovations on the pictorial carvings and the burial objects. The meaning of a continuous family embedded in the cliff tomb structure was explored, as the construction of the tomb was the result of the continuous endeavours from many generations of the family, and the physical form of the cliff tomb was a metaphor for a prosperous family. Following this intention of the tomb occupants underlying the design of the cliff tomb structure, the pictorial carvings and the burial objects in the cliff tomb made adaptations to make the cliff tomb an embodiment of relations between different family members and different generations.
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Lin, Yuexin Rachel. "Among ghosts and tigers : the Chinese in the Russian Far East, 1917-1920." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:6b8153ea-0f39-43cd-9c76-416f86c85d02.
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This thesis examines the experiences of the overseas Chinese in the Russian Far East during the revolutionary and Civil War period from 1917 to 1920, as well as their responses to the upheaval. Bucking the current trend towards transcultural history, the thesis argues that Chinese identity and nationalist language were of prime importance to this community. By concentrating on Chinese-language sources, the thesis re-privileges the community's internal discourses and highlights the prevalence of nationalist rhetoric across the Sino-Russian border. It also sites the Chinese community's use of nationalist language within the context of the global diaspora, for which questions of national weakness and revival were also pressing. Going further, the thesis postulates the presence of "Chinese nationalism with Russian characteristics", in which the issues surrounding Chinese nationalism as a whole were heightened. It shows that the rhetoric of 'national humiliation' and victimhood were particularly immediate to the community in the Russian Far East, since it was located at one of the epicentres of imperial contestation. In practice, this led to a modus vivendi with the Reds and a decisive turn against the Whites. Furthermore, the chaos of the revolutions and Civil War imbued this nationalism with an opportunistic quality. The collapse of Russian state power became the 'opportunity of a thousand years' for China to redress past wrongs. This allowed the overseas community to work closely with local authorities and the Beijing government to achieve shared goals. New civil society organisations with community-wide aims were formed. Beijing extended its diplomatic reach in the form of new Far Eastern consulates. Finally, common nationalist rhetoric underpinned China's successful attempt to re-establish its civilian and military presence on the Amur River. "Chinese nationalism with Russian characteristics" could be effectively harnessed to secure multi-level and cross-border cooperation.
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Lookman, Mariah. "Looking to draw : picturing the molecular body in art and science." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:58d026b1-457c-412a-a339-ca25eaa9ab19.
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As a practice-led thesis comprised of drawing, sculpture, video, notebooks, and a written dissertation, this study by way of art making argues against the provocation that life sciences aided by the advances in visualizing techniques will hegemonise much of what there is to see and know about biological life. Historian James Elkins argued that non-art informational images were historically relevant considering the strategies scientists use for visualizing phenomena and W. J. T. Mitchell noted the impact of proliferation in image production together with computer technology as the epistemological shift from word to image and coined the phrase pictorial turn. Concurrently philosopher Gottfried Boehm deployed the term iconic turn to discuss the problematics associated with the power of images. I incorporate these insights to examine the affects of biomedical imaging as seen in artworks formed out of biologically sourced organic materials and techniques. Especially once grouped as Bio Art (Kac 1997) or organic media art (Hauser 2006) these artworks further accentuate the problem of representation and its relationship to knowledge and power underscored by the phenomena that biotechnology is changing perceptions of what the body is and can become. The written component of the thesis addresses these problems. It does this by critiquing visualization through the example fluorescent tagging as this technique exemplifies the most innovative and transgressive procedure for imaging biology in-vivo. I argue the following: the visualization of biology, like the mathematization of the surface of reflection pioneered by Ibn al-Haytham is not a problem because it shows Man’s technological prowess but rather because mathematization brings with it the legacy of ontological uneasiness with images in Western philosophical tradition. This tension persists and gets exacerbated especially in contexts where molecular scale visualizing aids the invention of novel life forms as art or laboratory creatures. To reconcile the paradoxes that emerge from critical analysis of the effects of biotechnology that have been discussed in binary terms such as natural or artificial, mimetic or real, I introduce to the lexicon of new media art and theory the concept of non-duality from Arabic philosophy formalized by Ibn ‘Arabi through the analogy of barzakh. In Ibn ‘Arabi’s scheme images are a part of the imaginal sphere and are not perceived as mimetic. Neither is the image given primacy in the formation of knowledge nor is the image given an absolute position of certainty. Instead, images are the intermediary and dynamic part of cognitive process that brings with reason knowledge and with knowledge, responsibility. Thus theorized, imaginal are able to facilitate the possibility to actualise the fullest comprehension of wujud that in translation is also the pursuit for knowledge that guides action. In this way informed by practice, this thesis dissolves the distrust of vision and proposes that scientific images are like art that can embolden the intellectual capacity for creativity and abstract thought.
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Caswell, Fuad Matthew. "The Qiyan in the early Abbasid period." Thesis, University of Oxford, 2006. http://ora.ox.ac.uk/objects/uuid:07aceede-1eff-429b-83e6-2c2d5c60f9d0.
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The thesis deals with the legal status of the qiȳan as slaves in Islam; describes their nationalities, education and training as singers, instrumentalists and versifiers. It considers their place in the cultural life of the host society. A substantial part of their poetry with particular attention to some of the leading figures is reproduced in translation. A review of that poetry is included, showing the bulk of it to consist of clever epigrams exchanged in public or semi-public maj̄alis, bearing the hallmark of virtuosity and social jousting or party games. Another theme is that the introduction of the qiȳan into the Abbasid cultural life led to the development of elegiac-erotic poetry. A parallel review of the musical scene, with special reference to some leading exponents, shows the influence of the qiȳan in the development of new “popular”, unconventional styles of singing. The institution of the qiȳan in all its artistic manifestations is viewed as essentially a business catering for men in pursuit of pleasure: caliphs, aristocrats and, most commonly, the class of cultured well-to-do chancery scribes. The bulk of the poetry which the established men poets composed in praise of the qiȳan is seen as publicity material, and substantially produced to commission. The effect of the qiȳan on the free-born women of their age, as well as historically, is considered; and some comparison is drawn between them as poets and singers. By way of further comparison the geisha and the hetaira of Ancient Greece are alluded to. A chapter is devoted to the decline and fall of the qiȳan institution in the East and its partial transfer to Arab Spain.
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Miller, Elizabeth M. "Nationalism and the birth of modern art in Egypt." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:84002959-dc3e-40ad-90b3-f9efcc8846f6.
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This dissertation covers the emergence of a tradition of the fine arts in Egypt during the first half of the twentieth century and its relationship to discourses of nationalism. Taking as a starting point the canon of the ‘pioneer’ generation as it is defined in the historiography, I follow the careers of the sculptor Mahmud Mukhtar and the painters Ragheb ‘Ayyad, Muhammad Nagi, and Mahmud Sa‘id, each of whom is treated in a full chapter. Narratives surrounding the life and work of these artists have tended to emphasize the ways in which the images they created participated in the definition of a single cohesive nation – through the use of Pharaonic imagery, which anchors the nation in a distant past, through rural symbolism, which ties the nation to the land and the Nile, and through a female iconography that links the nation to ideas of virtue and purity – what I term here, following Timothy Mitchell and Homi Bhabha, a pedagogical narrative of the nation. However, I suggest that the process of imagining the nation as a unified whole necessarily involves a negotiation of difference, sometimes that of the peasant or the woman who pose a challenge to the assumption of an unproblematic national collectivity, sometimes that of the artists themselves, who, for reasons of foreign education, religion, or social identity, are unable to fully identify with definitions of the nation that were themselves constantly contested. This negotiation of difference – what Mitchell has termed the performative - and how it appears within works of visual art, constitutes the main subject of this dissertation.
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Montagno-Leahy, Lisa. "Private tomb reliefs of the late period from Lower Egypt." Thesis, University of Oxford, 1988. http://ora.ox.ac.uk/objects/uuid:3b3699de-8498-4021-bf5f-b35fcf1cf33c.
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This study considers the relief decoration of private tombs in Lower Egypt in the period 664-332 BC. The basis for analysis is a chronologically arranged descriptive catalogue, which includes both isolated blocks in museum collections and tombs whose location is known. The present condition of the relief and its content are described in detail there. Texts are considered where they provide infotmation on provenance and dating, and hand-copies are provided. Each piece is illustrated in the plate volume. Enough of the material can be dated by textual evidence to provide a solid framework for stylistic ordering of the remainder. The resulting chronology has important implications, dividing the period into two major phases, covering the seventh and sixth centuries, and the fourth century, separated by a hiatus in production of tomb reliefs. The chronology proposed eliminates the possibility that either Greeks or Persians exercised any significant influence on Egyptian art before the very end of the period. Instead, native tradition emerges as the primary inspiration for Late Period artists. Two sources stand out. The first is the Old-Middle Kingdom tomb repertory (archaism), the second is the New Kingdom tradition carried on in the minor arts, a source largely-ignored hitherto. These were not slavishly copied, but adapted and "modernized" to suit the taste of the time. The independence and creativity of Late Period artists is emphasized. A discussion of stylistic development in light of the dating system is given, and several themes are analyzed in detail as illustrations of the larger issues raised.
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Wood, Rachel K. L. "After the Achaemenids : exchange, transmission and transformation in the visual culture of Babylonia, Iran and Bactria c.330-c.100 BC." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0fc15b6c-0436-4d17-81d3-31f69b77313e.
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This thesis examines the art of Babylonia, Iran and Bactria after the Macedonian conquest, from c.330 to c.100 BC, in light of current developments in archaeological theory of cultural interaction. In order to illustrate the character and scale of these interactions, the thesis presents a discussion of iconographic material ranging from architectural ornament and sculpture to minor arts. Chapters II-IV discuss the material from each site, highlighting regional characteristics and differences between media. Chapters V-VII use three cross-sections to examine cultural interaction visible in material used for different social functions (‘spheres’). The ‘sphere of gods’ discusses religious architectural ornament and iconography, and the implications for our interpretation of cult in Babylonia, Iran and Bactria in this period. The ‘sphere of kings’ considers ruler representation and the physical appearance of ‘royal space’ while the ‘sphere of citizens and subjects’ discusses material made and used by the wider populace. Macedonian rule and the influx of settlers to Babylonia, Iran and Bactria developed networks of exchange, transmission and transformation creating ‘visually multi-lingual’ societies. The adoption of new artistic influences did not replace all existing traditions or necessarily infringe ethnic identities. There was selective adoption and adaptation of iconography, styles and forms to suit the new patrons and contexts. This cultural co-existence included some combinations of features from different artistic traditions into individual compositions, emphasising how visual languages were not closed-off, rigidly defined or static. Patrons were not confined to using the visual language associated with their ethnicity or current location. There was flexibility of use and meaning, which may present a useful model in the study of other areas of cultural interaction in the Hellenistic period.
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Liu, Yu-jen. "Publishing Chinese art : issues of cultural reproduction in China, 1905-1918." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:284f18b9-a0ce-4a4a-bdb4-6a1c1ece44ce.
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This thesis is an enquiry into the conditions in which various understandings of the newly introduced but vaguely grasped Western notion of ‘art’ emerged and sustained themselves in the name of cultural reproduction in early twentieth-century China. This Western concept of art was translated into Chinese as ‘meishu’, a neologism originally coined in Japanese kanji, and regarded as the embodiment of the ‘national essence’. Through a close examination of five art-related publishing events—the publication of the nationalistic journal Guocui xuebao; the launch of the art periodical Shenzhou guoguangji; the endeavours to compile a book collection on art, Meishu congshu; the making of the text Zhonguo yishujia zhenglüe which claimed to be a history book of Chinese ‘meishu’; and an example of image appropriation from Stephen Bushell’s Chinese Art—this thesis explores the ways in which different ‘neologistic imaginations’ of the term ‘meishu’ were constructed through publishing practices attempting to preserve and reproduce the ‘national essence’, by creating from the existent tradition a category of ‘art’ equivalent to that in the European West. Unlike previous scholarship, which deems any understanding of ‘meishu’ that deviated from the ‘authentic’ European model a ‘misconception’, this thesis sees these disparate understandings of ‘meishu’ as equally valid statements competing for dominance in the discursive field of art. This thesis thus argues that there existed at least three modes of utterances regarding the notion of ‘meishu’ in early twentieth-century China, and that the success of any such given utterance depended upon the acceptance of the authentic quality argued in its strategy of cultural reproduction. This thesis hence not only offers a detailed analysis of each publishing event, but also provides an interpretative framework within which the recognition of these utterances can be analysed by their strategic approaches to claiming cultural authenticity.
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Silberstein, Rachel. "Embroidered figures : commerce and culture in the late Qing fashion system." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3f170232-4836-47ee-a535-901834528b21.
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Contrary to Westerners' long-maintained denial of fashion in Chinese dress, recent scholarship has provided convincing textual evidence of fashion in early modern China. Research into this fashion commentary has complicated our understanding of Chinese consumption history, yet we still know little about fashion design, production, or dissemination. By prioritising the textual over the visual or material, this history remains confined to the written source, rather than asking what objects might tell us of Qing fashions. Though many fashionable styles of dress survive in Western museums, these are rarely considered evidence of the Chinese fashion system. Instead museum scholarship remains influenced by twentieth-century interpretations of Chinese dress as art; dominated by dragon robes and auspicious symbols, oriented around the trope of the genteel Chinese seamstress. Within this art historical account, nineteenth-century women's dress has been characterized by decay and viewed with disdain. This thesis questions these assumptions through the study of a group of late Qing women's jackets featuring embroidered narrative scenes, arguing that in this style - regulated by market desires rather than imperial edict - fashion formed at the intersection of commerce and culture. Contrary to the prevailing production model in which the secluded gentlewoman embroidered her entire wardrobe, I position the jackets within the mid-Qing commercialization of handicrafts that created networks of urban guilds, commercial workshops and sub-contracted female workers. By drawing the contours of Suzhou's commercial networks - a region renowned for its embroidery - I demonstrate how popular culture permeated the late Qing fashion system, and explicate the appearance and conceptualization of the embroidered scenes through contemporary prints and performance. My exploration of how dramatic narrative was represented in female dress culture highlights embroidery's significance as a tool to reflect upon contemporary culture, a finding I support by recourse to representations of embroidery as act and object in Suzhou's vernacular ballads and dramas. Thus, these little-studied jackets not only evidence how fashionable dress articulated women's relationship with popular culture, but also how embroidery expressed contemporary concerns, allowing a re-appraisal of women's role as cultural consumers and producers.
Books on the topic "Far Eastern Art objects"
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Noble, Richard Naomi, ed. A history of Far Eastern art. 5th ed. Englewood Cliffs, N.J: Prentice Hall, 1994.
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Lee, Sherman E. A history of Far Eastern art. 5th ed. New York: Harry N. Abrams, 1994.
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Lee, Sherman E. A history of Far Eastern art. 5th ed. Englewood Cliffs, N.J: Prentice Hall, 1994.
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Kenkyūjo, Kurokawa Kobunka. Kurokawa Kobunka Kenkyūjo meihin sen =: Masterpieces from Kurokawa Institute of Ancient Cultures. Hyōgo-ken Nishinomiya-shi: Kurokawa Kobunka Kenkyūjo, 1990.
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Understanding Far Eastern art: A complete guide to the arts of China, Japan, and Korea : ceramics, sculpture, painting, prints, lacquer, textiles, and metalwork. New York: Dutton, 1987.
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Understanding far eastern art: A complete guide to the arts of China, Japan and Korea : ceramics, sculpture, painting, prints, lacquer, textiles and metalwork. Oxford [England]: Phaidon, 1987.
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Sung, Yu, Hu-pei sheng po wu kuan., and San Diego Museum of Art., eds. Ringing thunder: Tomb treasures from ancient China : selections of Eastern Zhou Dynasty material form the Hubei Provincial Museum, People's Republic of China. San Diego: San Diego Museum of Art, 1999.
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International Institute for Conservation of Historic and Artistic Works. Congress. Conservation of Far Eastern art: Abstracts of the contributions to the Kyoto Congress, 19-23 September 1988. [Kyoto?]: Japanese Organizing Committee of the IIC Kyoto Congress, 1988.
Find full textBook chapters on the topic "Far Eastern Art objects"
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Kuzmin, V. L., and Yu N. Tsipkin. "The Far Eastern Mensheviks and October 1917." In Smart Technologies and Innovations in Design for Control of Technological Processes and Objects: Economy and Production, 100–107. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15577-3_10.
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Zaretskaya, V. G. "Diversification or Specialization: Development of the Regions of the Far Eastern Federal District." In Smart Technologies and Innovations in Design for Control of Technological Processes and Objects: Economy and Production, 280–88. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-18553-4_36.
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Kovalchuk, M. A., and L. T. Sikorskaya. "The Study of the Activities of the Far Eastern Revolutionary Committee (1922–1926) in Russian Historical Science." In Smart Technologies and Innovations in Design for Control of Technological Processes and Objects: Economy and Production, 128–37. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15577-3_13.
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Solovev, D. B. "Using of Instruments of the State Support for Integration of Science and Business on the Example of Far Eastern Federal University." In Smart Technologies and Innovations in Design for Control of Technological Processes and Objects: Economy and Production, 923–33. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-15577-3_85.
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Nezhivaya, E. A., O. A. Buzuev, and K. V. Borovikova. "Chinese Themes in the Works of N. Baikov and V. Pereleshin: The Problem of Art Space Conceptualisation by Far-Eastern Literary Immigration." In Proceeding of the International Science and Technology Conference "FarEastСon 2020", 527–36. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0953-4_51.
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Sterflinger, Katja, and Guadalupe Piñar. "Molecular-Based Techniques for the Study of Microbial Communities in Artworks." In Microorganisms in the Deterioration and Preservation of Cultural Heritage, 59–77. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69411-1_3.
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AbstractThanks to the revolutionary invention of the polymerase chain reaction and the sequencing of DNA and RNA by means of “Sanger sequencing” in the 1970th and 1980th, it became possible to detect microorganisms in art and cultural assets that do not grow on culture media or that are non-viable. The following generation of sequencing systems (next generation sequencing, NGS) already allowed the detection of microbial communities on objects without the intermediate step of cloning, but still most of the NGS technologies used for the study of microbial communities in objects of art rely on “target sequencing” linked to the selectivity of the primers used for amplification. Today, with the third generation of sequencing technology, whole genome and metagenome sequencing is possible, allowing the detection of taxonomic units of all domains and kingdoms as well as functional genes in the produced metagenome. Currently, Nanopore sequencing technology is a good, affordable, and simple way to characterize microbial communities, especially in the field of Heritage Science. It also has the advantage that a bioinformatic analysis can be performed automatically. In addition to genomics and metagenomics, other “-omics” techniques such as transcriptomics, proteomics, and metabolomics have a great potential for the study of processes in art and cultural heritage, but are still in their infancy as far as their application in this field is concerned.
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Clunas, Craig. "Oriental Antiquities/Far Eastern Art." In Formations of Colonial Modernity in East Asia, 413–46. Duke University Press, 1997. http://dx.doi.org/10.1215/9780822399117-014.
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Clunas, Craig. "Oriental Antiquities/Far Eastern Art." In Formations of Colonial Modernity in East Asia, 413–46. Duke University Press, 1997. http://dx.doi.org/10.2307/j.ctv11cw8tf.16.
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"Oriental Antiquities/Far Eastern Art." In Formations of Colonial Modernity in East Asia, 413–46. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822399117-014.
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Chervonnaia, Svetlana Mikhailovna. "Between Russia, Lithuania and Poland: The Life, Pedagogique Activity and Work of Stefan NaręBski – the Architect-Artist of the Vilnius School." In Between Russia, Lithuania and Poland: The Life, Pedagogique Activity and Work of Stefan NaręBski – the Architect-Artist of the Vilnius School. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-74325.
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It cannot be said that the creative biography of the artist-architect Stefan Narębski (1892–1966) remains a completely unknown page in the history of art, but everything that has been written and published so far about the life and work of Stefan Narębski is only the top of the iceberg which is his complete biography. The author restores many forgotten and unknown facts of this biography, mainly based on the materials of the Archive of the Nicolaus Copernicus University, first of all, the artist’s own notes (“Diaries”), which had never been published before. Discoveries of this kind relate primarily to the childhood and adolescence of Narębski, held in the Caucasus and Vilnius; his participation in the 1905 revolution; his educational and creative activities in Włocławek in the 1920s; his connections with Stephen Batory University; as well as the repressions that he faced both during the years of the Nazi occupation of Lithuania and during the restoration of Soviet power here, in 1944–45. In the artistic heritage of Narębski, a close-up is highlighted by the types of residential buildings developed by him, educational institutions (museum, school, university department), modern churches, projects for the artistic transformation and decoration of public interiors (the residence of the archbishop; town halls in Vilnius and Torun). The theoretical development of the artistic training program for masters of architectural design (design and decoration of interiors), carried out by Narębski, and the practical implementation of this program at the Nicolaus Copernicus University contained an innovative beginning and provided the most important breakthrough of Polish post-war artistic pedagogy towards a modern, progressive methodology. Of great importance is the international aspect of the work of Narębski, whose personal biography is connected not only with Poland and the strongest impulses of Polish patriotism, but also with Lithuania, Russia, Belarus, Ukraine (with the places where he studied, lived, worked, built and planned the construction of new objects). His contribution to the development of art and artistic pedagogy is subject to measurement on the scale of not only national but also Eastern European culture.
Conference papers on the topic "Far Eastern Art objects"
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Carlomagno, M., S. Rossin, M. Delvecchio, and A. Anichini. "Experimental and Numerical Validation of Conical Strainer Fluid/Structural Performance Model." In ASME Turbo Expo 2012: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/gt2012-69751.
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Temporary conical strainers are widely employed in the Oil & Gas industry as filtering devices in the Centrifugal Compressors suction line. They protect compressor stages from the ingestion of foreign objects whether coming from dirty process gas or left in the pipeline after its construction. Very few literature and research papers are available on the fluid dynamic and structural performance of conical strainers. The purpose of this work is to plug this gap by the definition of a theoretical-experimental model for the characterization of the pressure drop and mechanical resistance of these devices. Starting from the definition of the main fluid dynamics and geometric variables which influence the performances, an experimental campaign has been performed in order to derive the relationship governing the pressure drop behavior. The model efficacy has been confirmed by a CFD analysis, which also allowed a qualitative insight review into the dynamics of velocity and turbulence intensity fields. Further tests have been performed in order to validate the model at off-design points. As far as the structural analysis is concerned, several FEM models and DOE techniques have been implemented in order to define relationships for bust pressure computation and feasible design improvements with respect to the current state of the art. Besides fluid dynamic and structural correlations, the notable achievements of this work are the definition of best pressure static probes positioning and the maximum clogging level that a strainer can withstand before collapse. Furthermore, some guidelines are given in order to prevent pipeline resonance and acoustic fatigue caused by the interaction between strainer turbulence and compressor inlet flow.
Reports on the topic "Far Eastern Art objects"
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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