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Artykuły w czasopismach na temat "Asian Studies|Art Criticism|Art History":
Mahamood, Muliyadi. "THE ROLE OF CARTOON IN THE FORMATION OF ASIAN COMMUNITY: ART HISTORY ANALYSIS". Historia: Jurnal Pendidik dan Peneliti Sejarah 13, nr 1 (26.07.2017): 27. http://dx.doi.org/10.17509/historia.v13i1.7703.
Maxwell, Robyn J. "Asian art acquisitions". Asian Studies Association of Australia. Review 8, nr 3 (kwiecień 1985): 23–24. http://dx.doi.org/10.1080/03147538508712361.
Menzies, Jackie. "Asian art acquisitions". Asian Studies Association of Australia. Review 8, nr 3 (kwiecień 1985): 24. http://dx.doi.org/10.1080/03147538508712362.
Jack‐Hinton, Fiona. "Asian art acquisitions". Asian Studies Association of Australia. Review 8, nr 3 (kwiecień 1985): 25–26. http://dx.doi.org/10.1080/03147538508712363.
Isaac, Allan Punzalan, Johan Mathew, Anjali Nerlekar, Paul Schalow i Tamara Sears. "Further thoughts on Asian Studies “inside-out”". International Journal of Asian Studies 18, nr 2 (10.06.2021): 217–24. http://dx.doi.org/10.1017/s1479591421000152.
Thomas, Phillip L., Keith Foulcher, Paul Tickell, Carlien Patricia Woodcroft–Lee i George Quinn. "‘State of the art’ surveys of Asian studies: literature". Asian Studies Association of Australia. Review 9, nr 1 (lipiec 1985): 19–32. http://dx.doi.org/10.1080/03147538508712374.
Gulacsi, Zsuzsanna. "Contextualized Studies on the History of Manichaean Art across the Asian Continent". École pratique des hautes études. Section des sciences religieuses, nr 120 (1.10.2013): 51–62. http://dx.doi.org/10.4000/asr.1155.
O'Connor, Stanley J. "Humane Literacy and Southeast Asian Art". Journal of Southeast Asian Studies 26, nr 1 (marzec 1995): 147–58. http://dx.doi.org/10.1017/s0022463400010547.
Courtenay, P. P., i Gale Dixon. "‘State of the art’ surveys of Asian studies: geography and literature". Asian Studies Association of Australia. Review 8, nr 3 (kwiecień 1985): 2–6. http://dx.doi.org/10.1080/03147538508712356.
Teh, David. "The Preter-National: The Southeast Asian Contemporary and What Haunts It". ARTMargins 6, nr 1 (luty 2017): 33–63. http://dx.doi.org/10.1162/artm_a_00165.
Rozprawy doktorskie na temat "Asian Studies|Art Criticism|Art History":
Capezzuto, Joseph F. Jr. "Persistence of vision| Hamaya Hiroshi's Yukiguni and Kuwabara Kineo's Tokyo Showa 11-nen in the transwar era". California State University, Long Beach, 2013.
Baldridge, Seth Robert. "Gold powder and gunpowder| The appropriation of western firearms into Japan through high culture". Thesis, The University of Utah, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10006268.
When an object is introduced to a new culture for the first time, how does it transition from the status of a foreign import to a fully integrated object of that culture? Does it ever truly reach this status, or are its foreign origins a part of its identity that are impossible to overlook? What role could the arts of that culture play in adapting a foreign object into part of the culture? I propose to address these questions in specific regard to early modern Japan (1550–1850) through a black lacquered ōtsuzumi drum decorated with a gold powder motif of intersecting arquebuses and powder horns. While it may seem unlikely that a single piece of lacquerware can comment on the larger issues of cultural accommodation and appropriation, careful analysis reveals the way in which adopted firearms, introduced by Portuguese sailors in 1543, shed light on this issue.
While the arquebus’s militaristic and economic influence on Japan has been firmly established, this thesis investigates how the Kobe Museum’s ōtsuzumi is a manifestation of the change that firearms underwent from European imports of pure military value to Japanese items of not just military, but also artistic worth. It resulted from an intermingling of Japanese-Portuguese trade, aesthetics of the noble military class, and cultural accommodation between Europeans and Japanese that complicates our understandings of influence and appropriation. To analyze this process of appropriation and accommodation, the first section begins with a historical overview of lacquer in Japan, focusing on the Momoyama period, and the introduction of firearms. The second section will go into the aesthetics of lacquerware, including the importance of narrative symbolism and use in the performing arts with a particular emphasis on the aural and visual aesthetics of the drum. Finally, I will discuss this drum in the global contexts of the early modern era, which takes into account the tension between the decline in popularity of firearms as well as the survival of the drum. Pieced together, these various aspects will help to construct a better understanding of this unique piece’s place in the Japanese Christian material culture of early modern Japan.
Hartman, Laurel. "The shojo within the work of Aida Makoto| Japanese identity since the 1980s". Thesis, San Jose State University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10169581.
The work of Japanese contemporary artist Aida Makoto (1965-) has been shown internationally in major art institutions, yet there is little English-language art historical scholarship on him. While a contemporary of internationally-acclaimed Japanese artists Murakami Takashi and Nara Yoshitomo, Aida has neither gained their level of international recognition or respect. To date, Aida?s work has been consistently labeled as otaku or subcultural art, and this label fosters exotic and juvenile notions about the artist?s heavy engagement with Japanese animation, film and manga (Japanese comic book) culture. In addition to this critical devaluation, Aida?s explicit and deliberately shocking compositions seemingly serve to further disqualify him from scholarly consideration. This thesis will argue that Aida Makoto is instead a serious and socially responsible artist. Aida graduated with a Masters of Fine Arts from Tokyo University of Fine Arts and Music in 1991 and came of age as an artist in the late 1980s during the start of Japan?s economic recession. Since then Aida has tirelessly created artwork embodying an ever-changing contemporary Japanese identity. Much of his twenty-three-year oeuvre explores the culturally significant social sign of the shojo or pre-pubescent Japanese schoolgirl. This thesis will discuss these compositions as Aida?s deliberate and exacting social critiques of Japan?s first and second ?lost decades,? which began in 1991 and continue into the present.
Coulter-Pultz, Jude. "Exploring narratives in Ainu history through analysis of bear carvings". Thesis, Indiana University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10119500.
The dominant narrative mode in Ainu studies today stresses an activist agenda that, although worthwhile, limits the potential for new research in the field. In this thesis, I analyze historical accounts of the development of Ainu bear carvings as a case study of the characteristics of the dominant activist mode and present an alternate narrative in order to demonstrate the need for a variety of approaches to Ainu research.
The activist narrative mode is structured to engender sympathy for Ainu people and respect for their cultural heritage. Activist accounts of Ainu bear carvings often claim that the carvers were pressured by the Japanese tourist industry to violate religious taboos against producing realistic depictions of bears. In this way, the carvings serve as a symbol of oppression of Ainu people under Japanese imperialism. At the same time, activist scholars state that the Ainu bear carvings followed a linear progression from tourist souvenirs to respected works of “fine art.” Thus, the carvings also reinforce optimistic projections regarding the future status of Ainu culture and socioeconomic condition.
My alternate narrative focuses on the complexities and ambiguities in the field and avoids judging events in moral or sympathetic terms. I explore a broad range of contextual issues, tracing the regional production of wooden bears from the paleolithic ancestors of Ainu people, examining the role of bears and woodcarving in Ainu culture, analyzing Ainu interactions with Japan, Russia, and other neighboring empires, and investigating the commodification of bear carvings as tourist souvenirs.
Activist narratives have contributed a wealth of valuable research to the field of Ainu studies and remain a useful tool for promoting social and cultural equality for Ainu people. However, automatic conformity to the dominant activist mode perpetuates the obfuscation of certain details in Ainu history, including the diversity within Ainu and Japanese cultures and institutions, instances of political cooperation between Ainu and Japanese communities, and unanswered questions regarding the complex development of Ainu cultural practices and beliefs. Although any historical account (including this thesis) inherently simplifies its subjects, varying our narrative approach helps us to identify and fill some of the gaps.
Sanchez, Mary Grace. "Mail order brides| A M.O.B. of their own". Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587313.
In this thesis, I explore two works from Mail Order Brides/M.O.B., A Public Message for Your Private Life (1998) and Mail Order Bride of Frankenstein (2003), that take into account the histories and identities produced within Filipino/a American Communities. I use Sarita Echavez See and Emily Noelle Ignacio's theories on parody to analyze the performative aspects of M.O.B's artworks. According to See and Ignacio, parody can be utilized as a tool to simultaneously form solidarity within Filipino American communities. By examining these ideas, I argue that M.O.B. performs appropriated representations of their ethnic and assimilated cultures by using parody to critique and problematize often-misrepresented individual and cultural identities.
Stein, Emma Natalya. "All Streets Lead to Temples| Mapping Monumental Histories in Kanchipuram, ca. 8th - 12th centuries CE". Thesis, Yale University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10633265.
This dissertation examines the transformation of the South Indian city of Kanchipuram into a major cosmopolitan sacred center during the course of the eighth through twelfth centuries. In this pivotal five hundred-year period, Kanchipuram served as the royal capital for two major dynasties, the Pallavas and then the Cholas. Both dynasties sponsored the production of prominent sacred monuments built from locally sourced stone. These temples were crowned with pyramidal towers, adorned with sculpted and painted figures of deities amid groves and palatial landscapes, and elegantly ornamented with courtly Sanskrit and Tamil inscriptions. Over time, the temples functioned as monumental statements of power, sites of devotion, and municipal establishments where diverse social groups negotiated their claims to political authority and economic prosperity. In Kanchipuram, temples also played a crucial role in defining urban space by demarcating the city's center and borders, marking crucial junctions, and orienting the gods towards avenues, hydraulic features, and royal establishments. As religious monuments, they also fostered vibrant circuits of pilgrimage and travel that were integrated with a broader Indian Ocean network.
The dissertation argues that the construction of temples fundamentally shaped and reordered landscape. The four chapters, organized chronologically, address the expanding geography of Kanchipuram and its widening sphere of influence. The first two chapters trace the city's shifting contours and the emergence of a major pilgrimage route that led precisely through the urban core. The city was radically reconfigured around this new central road, which functioned as a processional pathway that created relationships between monuments both inside the city and beyond its borders. The third chapter reveals patterns of movement linking the city with its rural and coastal hinterland, and considers connections with Southeast Asia. Temples in more remote areas disclose links to Kanchipuram through their use of shared architectural forms, a standardized iconographic program, and inscriptions that detail economic and political ties to the urban hub. The fourth chapter focuses on colonial-era encounters with Kanchipuram and the city's role in the broader production of colonial knowledge. As a site of antiquarian interest and military history, Kanchipuram was subject to competing narratives about India. Whereas European officials and surveyors such as James Fergusson saw in the city's monuments India's past glory and inevitable decline, other travelers found no evidence of rupture or disrepair. I read these conflicting representations against the grain to expose Kanchipuram's continuity as a flourishing cosmopolitan center. The dissertation's goal is twofold. First, it documents Kanchipuram and maps its monuments spatially and chronologically in relation to each other, the city, and features of the natural environment. Second, it situates the temples within their ritual and civic functions as agentive establishments that both served and fostered a growing urban landscape.
Tan, Eliza. "Yoshiko Shimada : art, feminism and memory in Japan after 1989". Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/37319/.
Roe, Sharon J. "Anusmrti in Hinayana, Mahayana and Vajrayana perspectives| A lens for the full range of Buddha's teachings". Thesis, California Institute of Integral Studies, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621055.
This research investigates anusmr&dotbelow;ti (Sanskrit), rjes su dran pa (Tibetan), anussati (Pāli), and considers how this term might serve as a link for finding a commonality in practices in Hīnayāna, Mahāyāna and Vajrayāna traditions. The research was inspired by the work of Buddhist scholars Janet Gyatso, Paul Harrison, and Matthew Kapstein. Each of them has noted the importance of the term anusmr&dotbelow;ti in Buddhist texts and Buddhist practice. Harrison sees a connection between Hīnayāna practices of buddhānusmr&dotbelow;ti and a host of Mahāyāna and Vajrayāna practices. He notes that buddhānusmr&dotbelow;ti can be seen as a source of later, more elaborate Vajrayāna visualization practices ("Commemoration" 215). Gyatso investigates contextual meanings of the term anusmr&dotbelow;ti and cites meanings that include an element of commemoration and devotion. She notes that varieties of anusmr&dotbelow;ti are considered beneficial for soteriological development and are deliberately cultivated for that purpose (Mirror of Memory 2-3). Matthew Kapstein refers to a type of anusmr&dotbelow;ti that is the palpable recovery of a state of being or affect. This, he says, is not simply the memory of the experience but the recovery of the sense of being in that state ("Amnesic Monarch" 234). Essential to the research were the teachings of Dzongsar Khyentse Rinpoche and Anam Thubten Rinpoche on Buddha-nature and Pure Vision.
In this study I have coined the terms "Buddha-nature anusmr&dotbelow;ti" and "Pure vision anusmr&dotbelow;ti." Though these terms do not appear in the literature, they may be seen as useful in investigating core remembrances (anusmr&dotbelow;ti) in the Mahāyāna and Vajrayāna traditions respectively. "Buddha-nature anusmr&dotbelow;ti " refers to a key remembrance or commemoration in Mahāyāna Tibetan literature and practice. "Pure Vision anusmr&dotbelow;ti " refers to a key remembrance or commemoration in Vajrayāna Tibetan literature and practice. This dissertation cites passages from key texts and commentaries to make the point that these coined terms meaningfully reflect a major aspect of their respective traditions. They describe that which is worthy and important, that which should be remembered and commemorated.
Arthur, Brid Caitrin. "Envisioning Lhasa: 17-20th century paintings of Tibet's sacred city". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437525195.
Pironti, Elinor Dei Tos. "The interconnection of culture and manufacture in Japanese No theater costume| Conservation of an Edo Period choken". Thesis, Fashion Institute of Technology, SUNY, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10140949.
The subject of this qualifying paper is an Edo Period Nō theater chōken. Upon receipt, this choken was in very poor condition. There were six types of damage that needed treatment.
First, there was extensive warp breakage along the full length of the shoulders and sleeve bottoms and one area of full loss to the base fabric, exposing wefts. Second, a couched metallic thread was used as an outline to five vase motifs and as patterning for four butterflies. All used ‘urushi,’ better known as Japanese lacquer, for an adhesive binding a metal foil its paper substrate. This couched thread had either loss to the metallic surface, to the combined metallic and lacquer surface, or was hanging, and at times twisted back upon itself. Third, there was a cut and finely woven, metallic coated paper used for some of the leaf and insect wing motifs that was tattered, unaligned, had loss to its metallic surface, and was not secure to the base fabric. Fourth, there were areas of weft breakage exposing warps. Fifth, the six exposed selvages that run the full length of the two sleeves and one body panel all needed to be strengthened. Sixth, there was one 3 by 4 inch area in the lower back of the body panel which had complete fabric loss.
Untreated areas were: areas of warp distortion in the front body panel; a few loose embroidery threads throughout the five floral/vase motifs; and a small amount of loss due to insect infestation.
Research was done and methods developed in order to find treatment techniques for the lacquer based metallic thread, the cut and woven paper motifs, and the extensive warp breakage extending along the shoulders and sleeve bottoms.
Due to the difficulty of finding English equivalents to Japanese textile terminology, I included a Comparative Glossary that I hope will be useful to other researchers in this field.
This project proved to be challenging, but in the end, very rewarding with a new body of knowledge concerning materials used in this type of cultural object.
Książki na temat "Asian Studies|Art Criticism|Art History":
Huang, Bei. Segalen et Claudel: Dialogue à travers la peinture extrême-orientale. Rennes: Presses Universitaires de Rennes, 2007.
Mundt, Marina. Zur Adaption orientalischer Bilder in den Fornaldarsögur Norđrlanda: Materialien zu einer neuen Dimension altnordischer Belletristik. Frankfurt am Main: P. Lang, 1993.
Chʻoe, Il-tan. Chʻoe Il-tan palbadak munhwa yesul kihaeng. Wyd. 8. Sŏul: Yungsŏng chʻulpʻan, 1991.
Masselos, Jim. The great empires of Asia. Berkeley: University of California Press, 2010.
Atasoy, Nurhan. The art of Islam. Paris: Unesco, 1990.
Thorp, Robert L. Chinese art and culture. New York: Abrams, 2000.
Hegewald, Julia A. B. In the shadow of the golden age: Art and identity in Asia from Gandhara to the modern age. Berlin: EB-Verlag Dr. Brandt, 2014.
Hantover, Jeffrey. An ocean apart: Contemporary Vietnamese art from the United States and Vietnam. Washington, D.C: Smithsonian Institution Traveling Exhibition Service, 1995.
Williams, Philip F. Asian literary voices: From marginal to mainstream. Amsterdam: Amsterdam University Press, 2010.
Zhang, Zhaohui. Where heaven and earth meet: Xu Bing & Cai Guo-Qiang. [Hong Kong]: Timezone 8, 2005.
Części książek na temat "Asian Studies|Art Criticism|Art History":
Taylor, Nora A. "Whose Art are We Studying? Writing Vietnamese Art History from Colonialism to the Present". W Studies in Southeast Asian Art, redaktor Nora A. Taylor, 143–57. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-010.
George, Jayashree. "History Matters". W Asian Art Therapists, 9–24. New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003109648-1.
von Falkenhausen, Lothar. "East Asian art history at UCLA". W Global and World Art in the Practice of the University Museum, 96–114. New York : Routledge, 2017. | Series: Routledge research in museum studies ; 13: Routledge, 2017. http://dx.doi.org/10.4324/9781315621722-6.
Arata, Shimao. "Reconsidering the History of East Asian Painting". W East Asian Art History in a Transnational Context, 15–31. New York: Routledge, 2019. | Series: Routledge research in art history: Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-2.
Perera, Sasanka, i Dev Nath Pathak. "Intersections and Implications: When Anthropology, Art Practice, and Art History Converge". W Intersections of Contemporary Art, Anthropology and Art History in South Asia, 1–46. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05852-4_1.
Kaufmann, Thomas DaCosta. "Japanese Export Lacquer and Global Art History: An Art of Mediation in Circulation". W Art, Trade, and Cultural Mediation in Asia, 1600–1950, 13–42. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-57237-0_2.
Tsiang, Katherine R. "Digital Imaging Projects for Asian Art and Visual Culture". W The Routledge Companion to Digital Humanities and Art History, 191–202. New York : Routledge, 2020. | Series: [Routledge art history and visual studies companions]: Routledge, 2020. http://dx.doi.org/10.4324/9780429505188-18.
Yu-jen, Liu. "The Concept of Art in the Meishu Congshu". W East Asian Art History in a Transnational Context, 227–43. New York: Routledge, 2019. | Series: Routledge research in art history: Routledge, 2019. http://dx.doi.org/10.4324/9781351061902-13.
Kalita, Pooja. "‘Art’ of Ethnography: Feminist Ethnography and Women Artists in South Asia". W Intersections of Contemporary Art, Anthropology and Art History in South Asia, 93–114. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-05852-4_4.
Thompson, Ashley. "In the Absence of the Buddha: “Aniconism” and the Contentions of Buddhist Art History". W A Companion to Asian Art and Architecture, 398–420. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444396355.ch16.
Streszczenia konferencji na temat "Asian Studies|Art Criticism|Art History":
Bhat, Raj Nath. "Language, Culture and History: Towards Building a Khmer Narrative". W GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-2.
Shcherbina, M. M. "Beading the womantory: art project as a way to tell about women’s history". W CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-72.
VUKIC, Fedja. "Art criticism and the semantic construction of the concept of Design". W Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-109.
Zagirova, Guzel. "The Issue of Zoomorphic Ornaments in the History of Studies of Gunch (Stucco) Carving in 9th to 12th Century Central Asia". W Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.3.
Zlotnikova, Tatyana. "Power in Russia: Modus Vivendi and Artis Imago". W Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.
Tajalli Bakhsh, Tayebeh, Kent Simpson, Tony LaPierre, Mahmud Monim, Jason Dahl, Malcolm Spaulding, Jill Rowe, Jennifer Miller i Daniel O’Connell. "Potential Geo-Hazards to Floating Offshore Wind Farms in the US Pacific". W ASME 2021 3rd International Offshore Wind Technical Conference. American Society of Mechanical Engineers, 2021. http://dx.doi.org/10.1115/iowtc2021-3564.