9780130422552

For Non-Western Art, Humanities, or Culture and Religion courses. This one-volume survey provides students with detailed and systematic coverage of Non-Western art via coverage of the cultural and ideological contexts in which art was created. Michael Kampen-O'Riley created this text to serve as the market's first dedicated survey of Non-Western art. Rather than mere descriptions of the various styles, Kampen-O'Riley provides detailed analysis of each major style within its cultural context, through which students can derive the meaning of works of art in each style. The text also provides students with an efficient educational tool with which to study art from nearly two thirds of the world.

Introduction: Art Beyond the West
Africa
India and Southeast Asia
China
Japan and Korea The Pacific
The Americas
Western and Non-Western Art
The Art in Context
Maps
Africa
Time Chart
Introduction
The History of African Art History
African Prehistory
Southern Africa
East Africa
Central Africa
West Africa
The African Diaspora and African-American Folklore Art
Summary
Boxes
Maps
India and Southeast Asia
Time Chart
Introduction
The Indus Valley
Buddhist Art
Hindu Art
Jain Art and Architecture
Islamic India
Colonial India
Summary
Boxes
Maps
China
Introduction
Time Chart
The Neolithic Period (c. 7000-2250 BCE)
The Xia (c. 2205-1700 BCE) and Shang (1700-1045 BCE) Dynasties
The Zhou Dynasty (1045-480 BCE)
The Period of Warring States (480-221 BCE) and the Qin Dynasty (221-209 BCE)
The Han Dynasty (206 BCE-220 CE)
The Period of Disunity: Six Dynasties (220-589 CE)
The Wei Dynasty in Northern China (388-535 CE)
The Sui (589-618) and Tang (618-907) Dynasties
The Five Dynasties (906-960), Northern Song (960-1127) and Southern Song (1127-1279) Dynasties
The Yuan Dynasty (1279-1368)
The Ming Dynasty (1368-1644)
The Qing Dynasty (1644-1911)
Modern China (from 1911)
Summary
Boxes
Maps
Japan and Korea
Time Chart
Introduction
The Jomon (12,000/10,500-300 BCE) and Yayoi (300 BCE-300 CE) Periods
The Kofun Period (300-710 CE)
Korea: The Three Kingdoms Period (57 BCE-688 CE)
The Asuka (552-645) and Hakuho (645-710) Periods
The Nara Period (710-794)
The Heian Period (794-1185)
Kamakura (1185-1333) and Koryo Korea (948-1395) Periods
The Muromachi (Ashikaga) Period (1392-1573)
The Momoyama Period (1573-1615)
The Tokugawa (Edo) Period (1615-1868)
The Meiji Restoration (1868-1912)
The Modern Period (from 1912)
Summary
Boxes
Maps
The Pacific
Time Chart
Introduction
Australia
Melanesia
Micronesia Polynesia
Summary
Boxes
Maps
The Americas
Introduction
The Pre-Columbian World
South America: The Central Andes
Time Chart
Mesoamerica
Time Chart
North America
Time Chart
Summary
Boxes
Maps
Art without Boundaries
Introduction
Postcolonialism
Postmodernism
Internationalism in the Postmodern and Postcolonial World
Into the Twenty-First Century: The Future of Art Beyond the West
Map Afterword
The New Geographies of Contemporary Art
Glossary
Bibliography
Picture Credits
Index
Table of Contents provided by Publisher. All Rights Reserved.

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Art beyond the Westsurveys the art traditions of Africa, India and Southeast Asia, China, Korea and Japan, the Pacific islands, and Pre-Colombian and Native America. These traditions are often called "Non Western." Although the term is tendentious insofar as it defines the material it covers in terms of the West--that which isnotWestern--it has no intended negative connotations. The arts of these diverse cultures from around the world, many of which have existed for thousands of years to the present, represent multiple and distinct lines of cultural development. Texts have surveyed these areas individually or in groups, focusing on Asia, or Africa, the Pacific islands, and the Americas. The art of these diverse peoples, accounting for about half the lands on earth, are included in this study for readers who want a comprehensive survey of all the major art styles in the vast world beyond the West. Separate chapters are devoted to each of the regions in which the major nonwestern art traditions have developed. Varieties of Islamic art that developed in Africa and Asia are examined in context with those areas. Individual chapters in the text are organized around large geographic areas and survey the arts within them through history as they related to certain all-important and pervasive cultural ideals. This approach to the art beyond the West explains it contextually, in terms of the thinking of the artists and patrons who created it. Below is a brief introductory survey of the ideas around which the chapters in this text are organized. Additional information supplementing the text is located in boxes within each chapter. Boxes focus on important technical, methodological, cross-cultural, and aesthetic issues related to the text. While the boxed information is as important as the text itself, it is presented in this manner because it is specialized and detailed material that lies outside the mainstream and flow of the text. This text uses many terms that may be new to most readers. They include academic terms used by art historians and other scholars and non-English words used by the people who created and used the art illustrated in this text. These terms are explained in context with the discussions of the art in the chapters to follow and they are assembled in glossaries at the end of the book. This system follows the familiar model of foreign language textbooks and it allows readers to test themselves on the vocabulary they will need to read each successive chapters. Seeing the foreign terms and their approximate English equivalents, readers should remember that the full and original meaning of an African mask, a Japanese Zen Buddhist landscape painting, or a Maya temple can never be fully framed in the English language and understood by one who has not been part of the language and culture in which the art was produced. As a case in point, the Chinese meaning of qi, translated here as "character" or "disposition," will vary depending upon the context in which it is used, the time in which the writer lived, and a host of other determining factors. Yet, accepting these limitations, translations do help us understand ideas in other languages; while it is logically impossible fully to understand the art of another culture and time, the experience of encountering the many new concepts and ideas in this text can be enlightening. Some of the terms used in this introduction that the reader will need later in the book are listed in the glossary.

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Art Beyond the West

Art Beyond the West

013042255X

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