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Art Beyond the West / Edition 3

Art Beyond the West / Edition 3

by Michael Kampen-O'Riley


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Product Details

ISBN-13: 9780205887897
Publisher: Pearson
Publication date: 01/04/2013
Edition description: New Edition
Pages: 368
Sales rank: 336,872
Product dimensions: 8.40(w) x 11.00(h) x 0.80(d)

About the Author

Dr. Michael Kampen O’Riley (PhD, History of Art, University of Pennsylvania, 1969) is a Professor Emeritus, University of North Carolina.

While working as a columnist for the Charlotte Observer, he shared in a Pulitzer Prize Journalism and Public Service given to the Observer in 1981 for the Observer’s columns devoted to the daily lives of their readers. He has taught at the Philadelphia University of Art; the University of Florida; Yale University; Arizona State University; the University of North Carolina Charlotte; California Polytechnic Institute Pomona; and the University of Stockholm, Sweden.

He has authored seven books, published over 300 articles in news papers and magazines, and given over 10,000 lectures and guided tours through museums and historical sites in the United States, Latin America, and Europe. He is presently living in Asheville, North Carolina and writing text books, self-help books, and novels about Native America and the visual arts.

About his work, the author says, “My work puts special emphasis on the contextual character of the visual arts. The arts have always existed in many active give-and-take or autocatalytic relationships with the world around them. The arts absorb ideas from religion, philosophy, politics, society at large, and every other area of thought; forge their own forms of visual expression, and, in turn, they influence the world around them in ways that only the visual arts can do.”

Table of Contents

In this Section:
1) Brief Table of Contents

2) Full Table of Contents


Chapter 1. Introduction: Art Beyond the West

Chapter 2. The Islamic World

Chapter 3. India and Southeast Asia

Chapter 4. China

Chapter 5. Japan and Korea

Chapter 6. The Pacific

Chapter 7. Africa

Chapter 8. The Americas

Chapter 9. Art Without Boundaries


Chapter 1. Introduction: Art Beyond the West

Non-Western Art and Aesthetics

Coatlicue in Context

Chapter 2. The Islamic World

Byzantium and The Umayyad Caliphate (661—750 CE)

The Umayyads and Their Successors in Spain (711—1492)

The Abbasid Caliphate (750—1258)

Iran and Central Asia

Anatolia and The Ottoman Turks (1453—1574)

Chapter 3. India and Southeast Asia

The Indus Valley

Buddhist Art

Hindu Art

Jain Art and Architecture

Islamic India

Colonial India

Chapter 4. China

The Neolithic Period (C. 7000-2250 BCE)

The Xia Dynasty (C. 2205-1700 BCE) and the Shang Dynasty (C. 1700-1045-480 BCE)

The Han Dynasty

The Period of Disunity: Six Dynasties (220-589 CE)

The Sui Dynasty (589-618 CE) and the Tang Dynasty

The Five Dynasties (907-60) and the Northern Song (960-1127) and Southern Song Dynasties (1127-1279)

The Yuan Dynasty (1279-1368)

The Ming Dynasty (1368-1644)

The Qing Dynasty (1644-1911)

Modern China (From 1911)

Chapter 5. Japan and Korea

The Jomon Period (C. 12,000/ 10,500—300 BCE) And Yayoi Period (300 BCE—300 CE)

The Kofun Period

Korea: The Three Kingdoms Period (57 BCE —688 CE)

The Asuka Period (552—645 CE) and Hakuho Period (645—710 CE)

The Nara Period (710—94 CE)

The Heian Period (794—1185)

The Kamakura Period (1185—1333) and Koryo Korea (918—1392)

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)

Chapter 6. The Pacific





The Pacific Arts Festival

Chapter 7. Africa

The History of African Art History

African Prehistory

Southern Africa

East Africa

Central Africa

West Africa

Postcolonial Africa and the Quest for Contemporary Identities

African-American Art

Chapter 8. The Americas

South America: The Central Andes


Time Chart: Mesoamerica

North America

Native American Art in the Twentieth and Twenty-First Centuries

Chapter 9. Art Without Boundaries

Painting and Sculpture


Multimedia Expressions


Art beyond the West surveys 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 is not Western—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. Boxesfocus 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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