A masterful introduction to the artists and artisans of Bangladesh and a meditation on the nature of art and life. Henry Glassie introduces us to dozens of artists working in different mediums--potters, metal workers, painters, weavers, poets--and shares the excitement of meeting new people and discovering new art forms. 12 color photos. 445 bandw photos.

Listen to the artists of the Brazilian Northeast. Their work, they say, comes of continuity and creativity. Continuity runs along lines of learning toward social coherence. Creativity brings challenges and deep personal satisfaction. What they say and do in Brazil aligns with ethnographic evidence from New Mexico and North Carolina; from Ireland, Portugal, and Italy; from Nigeria, Turkey, India, and Bangladesh; from China and Japan. This book is about that, about folk art as a sign of human unity.

Bangladesh is a young country with an ancient history. Situated on the lush, green, and fertile land of the Ganges delta, the country gained its independence from Pakistan in 1971. It is a land of writers, saints, scholars, and artists, famous for its music, dance, and drama; folklore; festivals and celebrations; and its distinctive culinary tradition. When you first arrive in Bangladesh, you may be overwhelmed by the crowds, the traffic jams, the humidity, and the lack of familiar facilities. However, your perspective will quickly change as you come to know its people. Generosity, honesty, integrity, and good humour are all traits common to this land. Today, 80 percent of the population live in rural areas, and Bangladesh remains for the most part a very traditional society, adhering to customs and norms that go back hundreds of years. As such, an understanding of Bangladeshi culture is critical. Culture Smart! Bangladesh will introduce you to the culture and the people beyond the stereotypes and headlines. It offers clear advice on what to expect and how to behave in different social situations. Whether you are a tourist or you are traveling on business, it will equip you with the tools you need to make the most of your trip. Welcome to Bangladesh! Bangladeshe swagato!

Gulammohammed Sheikh has played a pioneering role in contemporary Indian art's engagement with hybridity. At Home in the World presents the first comprehensive study of the art and life of this seminal figure, bringing together aspects of biographical discussion alongside other modes of art historical analysis.

Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.

Because clothing, food, and shelter are basic human needs, they provide excellent entries to cultural values and individual aesthetics. Everyone gets dressed every day, but body art has not received the attention it deserves as the most common and universal of material expressions of culture. The Grace of Four Moons aims to document the clothing decisions made by ordinary people in their everyday lives. Based on fieldwork conducted primarily in the city of Banaras, India, Pravina Shukla conceptualizes and realizes a total model for the study of body art—understood as all aesthetic modifications and supplementations to the body. Shukla urges the study of the entire process of body art, from the assembly of raw materials and the manufacture of objects, through their sale and the interactions between merchants and consumers, to the consumer's use of objects in creating personal decoration.

"Coming into being, the work of art, this very pot, creates relations--relations between nature and culture, between the individual and society, between utility and beauty. Governed by desire, the artist's work answers questions of value. Is nature favored, or culture? Are individual needs or social needs more important? Do utilitarian or aesthetic concerns dominate in the transformation of nature?" --from the Introduction The Potter's Art discusses and illustrates the work of modern masters of traditional ceramics from Bangladesh, Sweden, various parts of the United States, Turkey, and Japan. It will appeal to anyone interested in pottery and the study of folklore and folk art. Henry Glassie is College Professor of Folklore and Co-director of Turkish Studies at Indiana University. He has been a Guggenheim Fellow and a Fellow of the National Humanities Institute; he has also served as President of the Vernacular Architecture Forum and of the American Folklore Society. Material Culture--Henry Glassie, George Jevremovic, and William T. Sumner, editors (Note: there is an accent egue on the c Jevremovic) Contents: The Potter's Art Bangladesh Sweden Georgia Acoma Turkey Japan Hagi Work in the Clay Acknowledgments Notes Bibliography Index

An inspiring collection of the extraordinary private spaces of 250 of the world's most creative people, past and present

DANIEL JOHNSTON, raised on a farm in Randolph County, returned from Thailand with a new way to make monumental pots. Back home in North Carolina, he built a log shop and a whale of a kiln for wood-firing. Then he set out to create beautiful pots, grand in scale, graceful in form, and burned bright in a blend of ash and salt. With mastery achieved and apprentices to teach, Daniel Johnston turned his brain to massive installations. First, he made a hundred large jars and lined them along the rough road that runs past his shop and kiln. Next, he arranged curving clusters of big pots inside pine frames, slatted like corn cribs, to separate them from the slick interiors of four fine galleries in succession. Then, in concluding the second phase of his professional career, Daniel Johnston built an open-air installation on the grounds around the North Carolina Museum of Art, where 178 handmade, wood-fired columns march across a slope in a straight line, 350 feet in length, that dips and lifts with the heave while the tops of the pots maintain a level horizon. In 2000, when he was still Mark Hewitt's apprentice, Daniel Johnston met Henry Glassie, who has done fieldwork on ceramic traditions in the United States, Brazil, Italy, Turkey, Bangladesh, China, and Japan. Over the years, during a steady stream of intimate interviews, Glassie gathered the understanding that enabled him to compose this portrait of Daniel Johnston, a young artist who makes great pots in the eastern Piedmont of North Carolina.