The volume looks at how South Asian art was sourced for external appreciation at a variety of institutions in Europe, North America, and Asia from the mid-19th century onward. These essays speak to the colonial legacies that created such collections but that now must be viewed though a post-colonial lens. The volume also addresses contemporary concerns for todays's museums: collecting, building and practices, provenance, and repatriation.

Presents an illustrated analysis and survey of Asian art forms as understood through the spiritual significance of artistic materials and techniques, tracing the historical and social applications of ten specific artistic materials, from jade and silk to bamboo and paper.

"The pagodas of Burma, the temples of Angkor, the great Buddhist monument of Borobudur - these achievements of powerful courts and rulers are the most familiar part of a broad artistic tradition that includes textiles, sculpture, offers new insights into the interpretation and importance of Southeast Asian art, and local artistis are embracing new subjects and media as the area opens up to world travel and communication. Covering Brunei, Burma, Cambodia, Indonesia, Laos, Malaysia, the Philippines, Singapore, Thailand and Vietnam, Dr Kerlogue examines the roots and development of the arts of this distinctive region from prehistory to the present day. The book traces the reflection of indigenous beliefs and world religions - Hinduism, Buddhism, Islam and Christianity - in artistic expression, arriving at an exploration of the post-colonial period."--Back cover.

Southeast Asia, that immense region stretching from India to the Far East, encompasses Indochina (Vietnam, Laos, Cambodia, Myanmar - the former Burma - and Thailand), Malaysia, Indonesia, and the Philippines. Each country is endowed with its own national artistic identity and its own cultural heritage. At the same time, all gain strength from their common Asian identity. In a series of essays, a group of highly regarded scholars examine the mix of significant influences that have shaped the region's art. Of various nationalities, most have traveled, lived, and taught in Asia and are fluent in one or more Asian languages. Both the educated reader and the expert will find much that is new in these pages.

This foundational anthology maps the emergence of a dynamic new global phenomenon: contemporary Asian art. In 2008, Asia stormed the citadel of the New York art world when two major museums presented retrospectives of Asian contemporary artists: Cai Guo-Qiang at the Guggenheim Museum and Takashi Murakami at the Brooklyn Museum. Meanwhile, in Hong Kong, a painting by Zeng Fanzhi sold for $9.5 million, setting a new world auction record for Chinese contemporary art. The Western art world is still coming to grips with the challenge: it is all about Asia now. This book is the first anthology of critical writings to map the shift in both the nature and the reception of Asian art over the past twenty years. Offering texts by leading figures in the field (mostly Asian), and including more than fifty illustrations in color and black and white, it covers developments in East Asia (including China, Korea, and Japan), South Asia (including India and Pakistan), and Southeast Asia (including Vietnam, Indonesia, and Thailand). Together, the twenty-three texts posit an historical and pan-Asian response to the question, "What is Asian contemporary art?" Considering such topics as Asian modernism ("productive mistranslation" of the European original), Asian cubism, and the curating, collecting, and criticism of Asian contemporary art, this book promises to be a foundational reference for many years to come.

This book challenges existing notions of what is "American" and/or "Asian" art, moving beyond the identity issues that have dominated art-world conversations of the 1980s and the 1990s and aligning with new trends and issues in contemporary art today, e.g. the Global South, labor, environment, and gender identity. Contributors examine both historical and contemporary instances in art practices and exhibition-making under the rubric of "American art in Asia." The book complicates existing notions of what constitutes American art, Asian American (and American Asian) art. As today’s production and display of contemporary art takes place across diffused borders, under the fluid conditions of a globalized art world since transformed by the COVID-19 pandemic, new contexts and art historical narratives are forming that upend traditional Euro-American mappings of center-margins, migratory patterns and community engagement. The book will be of interest to scholars working in art history, American studies, Asian studies and visual culture.

Presents works of art selected from the South and Southeast Asian and Islamic collection of The Metropolitan Museum of Art, lessons plans, and classroom activities.

In recent years, the Dallas Museum of Art has expanded its collection of South Asian art from a small number of Indian temple sculptures to nearly 500 works, including Indian Hindu and Buddhist sculptures, Himalayan Buddhist bronze sculptures and ritual objects, artwork from Southeast Asia, and decorative arts from India's Mughal period. Artworks in the collection have origins from the former Ottoman empire to Java, and architectural pieces suggest the grandeur of buildings in the Indian tradition. This volume details the cultural and artistic significance of more than 140 featured works, which range from Tibetan thangkas and Indian miniature paintings to stone sculptures and bronzes. Relating these works to one another through interconnecting narratives and cross-references, scholars and curators provide a broad cultural history of the region. Distributed for the Dallas Museum of Art

This richly illustrated volume captures the fascinating adaptation of the story in different Asian cultures. The 20 essays from reputed international scholars on Ramayana cover a wide range of topics on literary, visual, performing and contemporary arts.