可借阅:*
图书馆 | 资料类型 | 排架号 | 子计数 | 书架位置 | 状态 | 图书预约 |
---|---|---|---|---|---|---|
正在检索... South | Book | CFAC 709.598 JESS | 1 | Fine Arts Collection | 正在检索... 未知 | 正在检索... 不可借阅 |
链接这些题名
已订购
评论 (6)
《书目》(Booklist)书评
Sister to The Sculpture of Indonesia [BKL O 1 90] and the second title published in conjunction with the 1990-91 Festival of Indonesia (which will feature three traveling exhibitions in the U.S), this magnificent book focuses on the art treasures of Indonesia's numerous royal courts. Jessup provides an excellent synopsis of Indonesia's lively 2,000-year history, which embraces the rise and fall of ancient empires and waves of immigrants from India, China, the countries of Islam, and Europe. She explains the "basic concept of kingship" and its underlying myths, symbols, and rituals. The objects shown include jewelry, textiles, masks, ritual weapons, sculptures, illuminated manuscripts, and wonderfully articulated and expressively detailed shadow puppets. Exquisitely crafted from gold, diamonds, rubies, and wood, these are objects of great beauty and vitality. An invaluable resource and splendid introduction to a culture we know too little about. Notes; glossary; bibliography; index. ~--Donna Seaman
Choice 评论
This catalog for the second of the three major exhibitions celebrating the Festival of Indonesia 1990-91 matches J. Fontein's The Sculpture of Indonesia (CH, Dec'90) in its format and abundant color plates, but the text has been expanded in order to explain how the diverse collection of objects on display connects with the unique theme. Jessup (an independent scholar) analyzes the concept of divine kingship in Indonesia and the images that relate to it, such as mountains, rice, snakes, and ships. She discusses the cosmic symbolism inherent in palace structures, and how the rulers as patrons of the arts promoted Indonesian culture, exemplified in everything from betel-nut boxes to shadow puppets and musical instruments. Although many of these categories of handicraft have been widely discussed in print, including Indonesian art surveys, e.g., F. A. Wagner's Indonesia (1959), no book has focused exclusively on court art from its origins to the modern period. Glossary; literature cited for each of the 157 objects. Students of history as well as of the arts will find fresh and valuable information here. -M. Morehart, University of British Columbia
《图书馆杂志》(Library Journal )书评
The Festival of Indonesia, a celebration launched this fall throughout the United States, includes several traveling art exhibitions, which have resulted in the publication of these two catalogs representing very different approaches to portraying Indonesian art. Fontein opens with three scholarly essays introducing Indonesian sculpture; the remaining two thirds of the book focuses on the exhibition's 116 works of art, providing text, picture, and bibliographic references for each. Both essays and descriptions reflect careful scholarship, and the book will long remain a standard reference title for Indonesian sculpture. Jessup devotes only 32 pages to the exhibition catalog, and since there are almost no illustrations in this part of her volume the reader is forced to refer constantly to the pictures in the narrative text. This portion never really defines what constitutes court arts in Indonesia, nor does it adequately cover their historical evolution and variation throughout the country; it is further marred by excessive use of terms in the various languages of Indonesia. While both works have sumptuous illustrations, libraries with limited budgets for art books may want to confine themselves to the Fontein volume.-- Donald Clay Johnson, Univ. of Minnesota Lib., Minneapolis (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
《书目》(Booklist)书评
Sister to The Sculpture of Indonesia [BKL O 1 90] and the second title published in conjunction with the 1990-91 Festival of Indonesia (which will feature three traveling exhibitions in the U.S), this magnificent book focuses on the art treasures of Indonesia's numerous royal courts. Jessup provides an excellent synopsis of Indonesia's lively 2,000-year history, which embraces the rise and fall of ancient empires and waves of immigrants from India, China, the countries of Islam, and Europe. She explains the "basic concept of kingship" and its underlying myths, symbols, and rituals. The objects shown include jewelry, textiles, masks, ritual weapons, sculptures, illuminated manuscripts, and wonderfully articulated and expressively detailed shadow puppets. Exquisitely crafted from gold, diamonds, rubies, and wood, these are objects of great beauty and vitality. An invaluable resource and splendid introduction to a culture we know too little about. Notes; glossary; bibliography; index. ~--Donna Seaman
Choice 评论
This catalog for the second of the three major exhibitions celebrating the Festival of Indonesia 1990-91 matches J. Fontein's The Sculpture of Indonesia (CH, Dec'90) in its format and abundant color plates, but the text has been expanded in order to explain how the diverse collection of objects on display connects with the unique theme. Jessup (an independent scholar) analyzes the concept of divine kingship in Indonesia and the images that relate to it, such as mountains, rice, snakes, and ships. She discusses the cosmic symbolism inherent in palace structures, and how the rulers as patrons of the arts promoted Indonesian culture, exemplified in everything from betel-nut boxes to shadow puppets and musical instruments. Although many of these categories of handicraft have been widely discussed in print, including Indonesian art surveys, e.g., F. A. Wagner's Indonesia (1959), no book has focused exclusively on court art from its origins to the modern period. Glossary; literature cited for each of the 157 objects. Students of history as well as of the arts will find fresh and valuable information here. -M. Morehart, University of British Columbia
《图书馆杂志》(Library Journal )书评
The Festival of Indonesia, a celebration launched this fall throughout the United States, includes several traveling art exhibitions, which have resulted in the publication of these two catalogs representing very different approaches to portraying Indonesian art. Fontein opens with three scholarly essays introducing Indonesian sculpture; the remaining two thirds of the book focuses on the exhibition's 116 works of art, providing text, picture, and bibliographic references for each. Both essays and descriptions reflect careful scholarship, and the book will long remain a standard reference title for Indonesian sculpture. Jessup devotes only 32 pages to the exhibition catalog, and since there are almost no illustrations in this part of her volume the reader is forced to refer constantly to the pictures in the narrative text. This portion never really defines what constitutes court arts in Indonesia, nor does it adequately cover their historical evolution and variation throughout the country; it is further marred by excessive use of terms in the various languages of Indonesia. While both works have sumptuous illustrations, libraries with limited budgets for art books may want to confine themselves to the Fontein volume.-- Donald Clay Johnson, Univ. of Minnesota Lib., Minneapolis (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.