Perspectives On Western Art Vol 1

This anthology of readings related to Western art history explains specific works of art illustrated in Janson's History of Art and De la Croix and Tansey's Gardner's Art Through the Ages in terms of the ideas, beliefs, and concerns of the people and cultures who created the art. It brings a new understanding of art because it shows the social and cultural basis of major works of art through history. The ten sections are Ancient Near East; Egyptian; Aegean; Greek; Etruscan; Roman; early Christian, Byzantine, and Islamic; early Medieval; Romanesque; and Gothic. The readings have been drawn from many areas of intellectual and social history, including religion, philosophy, literature, science, economics, and law. Each selection is preceded by an introductory note, which discusses the readings in terms of its subject and theme, its source and usage, and its relevance to the study of the work of art.

This anthology of readings related to Western art history explains specific works of art in terms of the people and cultures who created the art. It brings a new understanding of art because it shows the social and cultural basis of major works of art through history. The the readings have been drawn from many areas of intellectual and social history, including religion, philosophy, literature, science, economics and law. Each selection is preceded by an introductory note which discusses the reading in terms of its subject and theme, its source and usage, and its relevance to the study of the work of art. -- From publisher's description.

This anthology of readings related to Western art history explains specific works of art illustrated in Janson's History of Art and De la Croix and Tansey's Gardner's Art Through the Ages in terms of the ideas, beliefs, and concerns of the people and cultures who created the art. It brings a new understanding of art because it shows the social and cultural basis of major works of art through history. The ten sections are Ancient Near East; Egyptian; Aegean; Greek; Etruscan; Roman; early Christian, Byzantine, and Islamic; early Medieval; Romanesque; and Gothic. The readings have been drawn from many areas of intellectual and social history, including religion, philosophy, literature, science, economics, and law. Each selection is preceded by an introductory note, which discusses the readings in terms of its subject and theme, its source and usage, and its relevance to the study of the work of art.

In contrast to the overabundance of writings about martial arts that are often promotional and misinformative, there are rare works by scholars that are praiseworthy for their sincere, unbiased approach to writing. This is the very definition of “scholarly.” This two-volume anthology brings together the best scholarly works published in the Journal of Asian Martial Arts on the topic of teaching and learning Japanese martial arts. In this volume, you’ll find ten chapters that dive deep into Japanese martial traditions, combining aspects of history and culture that explain how teaching methods developed and evolved. Dr. Harrison-Pepper’s chapter sets the tone with a focus on the fundamental student–teacher relationship that is responsible for the transmission of any art. She uses sociological and performance studies to analyze the martial art’s maturing process. Understanding the teacher-student relationship is vital for all involved Japanese combative arts. Since Japan was ruled by a warrior class for nearly 700 years, it is necessary to understand the method by which warriors were educated through the ryuha system. Nyle Monday’s chapter presents this system. Dr. Lewis Hershey explores the way in which a martial art can serve as a vehicle for non-discursive intercultural exchange in the teaching process. His chapter provides a discussion of the importance of embodying the feeling or aesthetic of a particular system as a way of knowing and understanding martial techniques. The next three chapters were originally prepared for a meeting of the Association for Asian Studies. Dr. Paul Varley states that most who have written about martial arts practice are not trained scholars and their writings vary greatly in quality. He discusses the state of writing in this field and introduces the other authors. Dr. Cameron Hurst discusses the characteristics of the martial arts that place them squarely into the category of “artistic ways” along with such familiar arts as Noh, the tea ceremony, and flower arranging. This reflects the “family headship” system of instruction to carry on the school’s traditions. Dr. Karl Friday defines the term ryuha as “branch of the current,” representing the onward flow of a stream of thought; the branches betoken the splitting off that occurs as insights are passed from master to students, generation after generation. His chapter shows how ryuha exist to hand on knowledge with pattern practice (kata) being the core of transmission. Is it warrior’s individualism that is prized in modern conformity-ridden Japanese culture, or is this an erroneous interpretation of the idealized warrior image by Westerners? In the next chapter, Dr. Wayne VanHorne’s research is persuading, showing that the ultimate goal of the training is to foster individuals to contribute to the betterment of the collective society with social responsibility. In the following chapter, Dr. John Donohue analyzes the organizational components of traditional martial arts training and relates them to modern pedagogical theories. He concludes that the instructional theory embedded in martial arts training is at least as sophisticated and highly developed as are the techniques and philosophies of these systems. In the next chapter, he examines kata training as (1) a cultural activity that has been shaped by the structural characteristics of Japanese culture, and kata training as (2) a highly structured and effective mechanism for imparting technical skill in the martial arts. Kim Taylor provides the final chapter dealing with “progressive instruction” found in many kata-based martial arts. Using iaido (sword drawing) as an example, he demonstrates how a set of practice can build—one kata after the other—from simple to more complex ideas and provide a deeper understanding of the entire set. If you are interested in Japanese martial traditions, you will find much in these ten chapters that clarify why the arts are taught according to a longstanding tradition—and also why there have been evolutionary changes in the instructional methods. There is sound logic for the old traditions, as well as for the changes. The scholarly research presented in this anthology will improve a teacher’s way of instructing and help a student understand what to expect out of his or her studies.

Renaissance and Renascences in Western Art spans the period from the 10th to the 15th century, including discussion of the Carolingian renaissance and the 12th century proto-renaissance. Erwin Panofsky posits that there were "reanscences" prior to the widely known Renaissance that began in Italy in the 14th century. Whereas earlier renascences can be classified as revivals, the Renaissance was a unique instance that led to a wider cultural transformation.

Key Writers on Art: The Twentieth Century offers a unique and authoritative guide to modern responses to art. Featuring 48 essays on the most important twentieth century writers and thinkers and written by an international panel of expert contributors, it introduces readers to key approaches and analytical tools used in the study of contemporary art. It discusses writers such as Adorno, Barthes, Benjamin, Freud, Greenberg, Heuser, Kristeva, Merleau-Ponty, Pollock, Read and Sontag.