Книги про східний дизайн

This fantastic book of asian illustration includes a recompilation of work from seventeen renowned artists. Some of those featured are Lokman Lam, Ippei Gyoubu, Beesha, Ryuji Kawano, Erika Yamashiro, Naoshi… who have personally selected a few of their best works. The styles employed from illustration “Kawaii” the illustration “Naif”, to the most primitive, from the highly personal to the intensely conceptual or simply expressive. All of them form part of the vanguard on today’s illustration scene in Asia.

Яскравий літопис ляльок азійського театру в Музеї лялькового театру Лінь Лю-Сіня в Тайбеї

Азійський ляльковий театр – це скарбниця азійської низової релігії, культури, історії, етики та розваг. Але з розвитком масових розваг ляльковий театр був вигнаний на узбіччя, і вистави цієї вишуканої форми мистецтва стають рідкістю.

Театральні вистави, можливо, й зменшилися, але вплив цих прекрасних ляльок – ні. Їхня чарівність та вишукана майстерність вириваються зі сторінок цієї книги, яка вперше представляє красу театральних ляльок з усіх основних азійських традицій, відображену в понад 300 кольорових ілюстраціях.

Запрошуючи читача в натхненну подорож крізь сотні років творчості, ця чудова книга не лише сподобається людям, які цікавляться азійським мистецтвом, але й відкриє для широкого читача цілком нову сферу мистецтва.

Зміст:

Вступ та есе • Рукавичка • Мотузка • Паличка • Тінь • Описи

Про авторів:

Робін Руїзендаал досліджує ляльковий театр по всій Азії понад двадцять років. Він є директором Музею лялькового театру Лінь Лю-Сіня в Тайбеї та креативним директором лялькової театральної компанії Таййнана.
Ван Ханьшунь — фотограф, який працює з Музеєм лялькового театру в Тайбеї понад десять років.

Fujoshi, or Yaoi fandom supporters of femme gay media aimed at teenage girls represent an ever-increasing market in Japan. Best of Bishonen presents an up-to-date art collection of beautiful boys popular with Fujoshi or Yaoi girls. 

Seventy-nine artists are featured within, with details in Japanese and English. 

Some of the artworks are actually sought-after illustrations taken from the popular online game Touken Ranbu (in which players control legendary swords anthropomorphized as attractive young men) and Vocaloid PV. 

Best of Bishonen promises to satisfy Fujoshi girls with its unique claim as the complete Yaoi art collection! Best of Bishonen is also an indispensable book for anyone wishing to sample the visual pulse of this exciting trend. Additionally, five artists have created new original works exclusively for this project. 

Featured illustrators include: Shishunnki Suzuki Jiro Naoe Marimo Nao Tsukiji Fuji Mitsuya Toinana Aomiya Kara Shikimi Nagarenaitessyu And more!...

У цьому чудовому вступі до китайської мови та її середовища представлені чудово виконані ілюстрації та глибокі коментарі.

Письмова китайська мова може використовувати близько 40 000 ієрогліфів, багато з яких виникли близько 6000 років тому як маленькі зображення предметів повсякденного вжитку, що використовувалися стародавніми для спілкування один з одним. Щоб передати більш абстрактні ідеї чи поняття, китайці стилізували та комбінували свої піктограми. Наприклад, ієрогліф «людина» – пряма спина над двома сильними ногами – стає, з додаванням голови, плечей та рук, суворо вздовж яких тримаються в боки, ієрогліфом «офіційний».

Ця книга, створена за зразком класичного збірника китайської мови, зробленого у 18 столітті, знайомить читачів із 214 кореневими піктограмами або символами, на яких базується ця система письма, багата складність якої містить багатство культурного значення. Ці ключові символи, які називаються радикалами, чудово представлені в цьому томі, а їхній графічний розвиток простежується поетапно до сучасного зображення, де навіть зараз (у багатьох з них) можна легко розгледіти те, що було зображено спочатку – за допомогою авторських вказівок.

Століття тому, коли японці почали писати, вони також перейняли ці символи, хоча й дали їм різні назви у своїй розмовній мові. Кожен із 214 класичних радикалів чарівно досліджується автором, як з точки зору його етимології, так і з точки зору того, що він розкриває про китайську історію та культуру. Китайські ієрогліфи – це дива графічного дизайну, і ця книга навіть показує правильний спосіб написання кожного радикала, штрих за штрихом. Нарешті, є також зразки кожного радикала в поєднанні з іншими радикалами та елементами символів, щоб продемонструвати, як утворюються нові символи – близько 8000 було додано до мови з 18 століття. З усіма своїми майстерно виконаними каліграфічними ілюстраціями та захопливими коментарями, ця книга служить чудовим вступом до китайської писемності та її середовища.

Про автора:

Едоардо Фацціолі, який вивчав китайську мову та культуру в Гонконзькому університеті та є членом Італо-китайського інституту економічного та культурного обміну, писав газетні статті та наукові роботи про китайське життя та цивілізацію.

This book presents over 700 Chinese motifs, showcasing 35 outstanding works inspired by Peking Opera, Paper Cutting, Animal Motifs and Auspicious Motifs, etc. Well-known designers were invited to share their design inspiration and experience concerning Chinese motifs to offer an insight into traditional Chinese culture.

This inspiring book accompanies the first travelling exhibition about Doris Duke’s estate Shangri La and its influential synthesis of modernist architecture and Islamic art and design. 

Situated on five acres of terraced gardens and pools overlooking the Pacific Ocean and Honolulu’s Diamond Head, Shangri La was the idyllic paradise of philanthropist Doris Duke, reflecting her personal passion for the art, architecture, and design of the Islamic world. The estate incorporates unique architectural features, such as carved marble doorways, jalis, and floral ceramic tiles, and the decor includes artifacts, such as silk textiles, jewel-toned chandeliers, and gilt and coffered ceilings, many collected during her travels. 

This volume presents an exclusive tour of Shangri La’s breathtaking interiors and landscape, including the splendid furnishings and art. Archival photographs of Duke and friends as well as correspondence and drawings provide a view into a lifestyle defined by the highest sense of aesthetics. Doris Duke’s Shangri La is sure to inspire both art and design lovers.

About еhe Author

Thomas Mellins has organized exhibitions for many institutions and coauthored with Robert A.M. Stern an award-winning New York architecture and urbanism series. Donald Albrecht is the Museum of the City of New York’s curator of architecture and design and the writer of many books. Deborah Pope is the executive director of Shangri La; Keelan Overton is the institution’s curator of Islamic art; Sharon Littlefield Tomlinson is its former curator. Linda Komaroff is the Los Angeles County Museum of Art’s curator of Islamic art. Tim Street-Porter is a widely published photographer and the author of numerous books.

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Пролистать книгу Doris Duke's Shangri-La: A House in Paradise: Architecture, Landscape, and Islamic Art

Drawing on the work of artist and architect William Lim, this book offers a new, enlightened perspective on what Asian design means today. 

Exploring design works ranging from furniture and temporary art installations to interior design and architecture by CL3, founded by William Lim, and related studios Lim + Lu and Open UU, this book presents a fresh consideration of the essence of contemporary Asian design and how it has evolved over the past few decades.

The projects selected share a sensitivity to Asian qualities: a deep appreciation of site and context, craft and design details, with imaginative architectural responses delivering a reinterpretation of cultural heritage and traditions.

The book includes a contextual essay by Hong Kong-based architecture critic and author Catherine Shaw, a foreword by architecture and design curator Aric Chen, and a chapter dedicated to conversations on the modern interpretation of eastern aesthetics and the unique experience of designing for a new Asia between William Lim, Swedish museum director, art critic and writer Lars Nittve, and Shanghai-based architect Lyndon Neri.

The projects are presented in a clear, vibrant graphic style designed by William Lim and artist and graphic designer Stanley Wong, aka anothermountainman, to evoke an Asian quality. Each chapter includes a text by William Lim and features original conceptual sketches, photographs, floor plans, and drawings.

About the Author:

Catherine Shaw is an independent architecture, design, and art critic and published author. Originally an urban planner, she writes extensively on architecture, design, arts, and craft in Asia.  

This lavish and beautiful book celebrates the long and rich heritage of Chinese crafts and its increasing influence on Chinese contemporary design. Exploring the awakening craft spirit in contemporary Chinese design, it comprehensively introduces the pioneering and inspirational work of one of its leading proponents, Shang Xia.

A design-led brand, Shang Xia's ethos is implicitly tied to concepts of leisure and wellbeing. Its mission is to change the understanding of 'made in China' and preserve vitally important handicrafts by marrying contemporary with age-old crafts.
In over 500 colour photos, featured crafts include lacquer and eggshell lacquer, jade and agate carving, silk embroidery, cashmere felt, bamboo carving and weaving, furniture making and porcelain.

The book also features interviews with heavy hitters of the design world including the Japanese artist Kengo Kuma, the Chinese artist Ding Yi, former International Head of Chinese Arts Department at Christie's Géraldine Lenain, and former CEO of Hermès SA and Chairman of Shang XiaPatrick Thomas.

Other key contributions include a Prologue by John Elkann, Chairman and CEO of Exor, Prefaces by Ming-Chu Fung, the former director of Taipei Palace Museum Ming-Chu Fung, and Ya-Ming Wang, the former Executive Vice President of the Palace Museum and President of the Intangible Cultural Heritage Industry Committee of the CCIA, and a Foreword by Prof Han Jian, the Director and Chief Curator of the Arts Museums of the China Academy.

This book provides insights on Farah Ossouli’s artistic pursuits with miniature painting, explains the historical background of Iranian Contemporary and the challenges of contemporary image-making in the new political and social climate.

Farah Ossouli (born in 1953 in Zandschan, lives and works in Tehran) has explored innovative approaches to the medium painting, most commonly through juxtaposition of images and texts that scrutinize preconceptions about gender and race while undermining collective assumptions in post-revolutionary Iran.

A hallmark of her paintings are exceptionally fine miniatures; her subjects are figurative but nevertheless not easily deciphered. Even through titles can identify what is portrayed, they often only hint at a possible interpretation of the picture. Through most of her works have a private character, Ossouli refers to historical events and occurrences with collective memory internationally, which still disturbs to this day. Ossouli can interpret history through an artwork, since the aesthetics of representation creates a challenge to the ethics of what is represented. The aesthetic quality of the paintings is what first allows the viewers to address his content. The dissolution of subjectivity and its rearticulation in miniature compositions is a major trope. Early on Ossouli began to use mirrors to facilitate this process – as myth and metaphor doubling and redoubling a fragmented vision – returning the viewer to that moment of ego formation described by Jacques Lacan as the mirror stage. Farah Ossouli’s paintings, gouaches, conceptual miniature works, drawings, artist books and texts since the mid-1970s have been characterized by a keen awareness how the conditio humana is a product of its representation in mass media. She has developed a unique aesthetic practice committed to a metaphorical and feminist narration.

For more than four decades, Ossouli has been delving into the violent peripheries of a society mediated by images, in genuine compositions whose fine surfaces contain an unsettling visual poetics, political allure, and hope. Her works are monumental sites of confrontation with ideologies that manipulate and often obliterate the individual. This corporal trauma is expressed in an almost documentary realism with the elements of classical Persian Miniature Paintings that presents little more than the bare facts, it is also reflected in every aspects of composition, from the projection of contemporary political issues and the removal of entire sections in the narration, to unnerving collapse of the figure with space it occupies.

Abu Jani and Sandeep Khosla have built a 25-year partnership that has included designing for India’s leading actors and actresses, working with directors on costumes for epic Bollywood films, and building a brand that exudes luxury, artistry and Indian tradition.

Packed with substance as well as style – this publication is a sumptuous fanfare for a whole new world of high fashion. It is sure to become a collectible.

Known both for their fashion creations for men and women and for interior design, Jani and Khosla's reputation extends far beyond India: many international celebrities wear their creations, among them Dames Judi Dench and Maggie Smith, Sophie Marceau and Sarah Brown.

Stylishly packaged in a slipcase, this two volume publication is an unparalleled showcase of Abu Jani and Sandeep Khosla’s exuberant fashion and interiors, illustrated with hundreds of specially commissioned photographs.

Both books feature appearances by luminaries of Bollywood, Hollywood and Indian high society, while texts by writer Gayatri Sinha explain the background to the designer duo’s success, complemented by numerous photographs from their own private albums.

Paramount in both books is Abu Jani and Sandeep Khosla's rediscovery and revivification of once moribund traditional crafts, and the glorious ways in which they make use of local artisans and reinvent their heritage by redeploying Indian antiques, artefacts and vintage textiles.

India in Fashion explores the beautiful and sophisticated history and aesthetics of traditional Indian fashion, dress, and textiles and their profound impact on European and American fashion from the eighteenth century to today.

This intoxicating and visually rich volume — with texts by experts from India, Europe, and North America — is published to accompany a major exhibition that celebrates the long historical contributions that Indian dress, textiles, and embroidery have had on Western fashion. From the introduction of chintz dressmaking fabrics in the eighteenth century to the early nineteenth-century vogue for light Indian fabrics, paisleys, and chikan embroideries to larger realities of empire and cultural appropriation, this volume features paintings, fashion magazine editorials, and portraits of influential people who championed Indian style throughout history.

Traditional hues of brilliant royal blue, marigold, and fuchsia; intricate ikat and calico patterns; and sumptuous textiles enliven every page. Archival and contemporary fashion stories include kaleidoscopic images by photographers such as Henry Clarke in Udaipur in 1967, Arthur Elgort in Jaipur in 1999, and Mikael Jansson in Goa with Indian actress Lakshmi Menon in 2011. Traditional Indian embroidery techniques; design motifs; and dress forms such as saris, jodhpurs, and turbans are reimagined by renowned designers Paul Poiret, Elsa Schiaparelli, Pierre Balmain, Zandra Rhodes, Halston, Yves Saint Laurent, Oscar de la Renta, Gianni Versace, Jean Paul Gaultier, and Alexander McQueen, in addition to a wealth of contemporary Indian designers.

About the Author:

Hamish Bowles is an author, fashion collector, and historian. He is the editor in chief of World of Interiors and the global editor at large at American Vogue.

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Пролистать книгу India in Fashion: The Impact of Indian Dress and Textiles on the Fashionable Imagination

This definitive book tells the visual history of tile decoration in the Indian subcontinent, through vibrant photography and thorough research.

Historic India, which now encompasses the modern nations of India, Pakistan and Bangladesh, is celebrated for the richness of its architectural and decorative arts, but less well-known for glazed tiles. Arthur Millner opens up this hitherto neglected subject with a richly illustrated narrative. Millner traces the craft’s roots in Muslim Persia, Afghanistan and Central Asia, showing how imported glazing techniques combined with an ancient local tradition of clay craftsmanship. He explores the production, designs and influences in Indian tiles from antiquity to the colonial period, tracing the historical evolution through a series of key eras, including the Delhi Sultanate and the Mughal Empire in Northern India. Although glazed tiles are generally associated with Islam, they also briefly flourished in both Hindu strongholds, such as Gwalior and Orchha, and in Christian Portuguese-ruled Goa. More than four hundred photographs, many of little-known sites, are drawn from the author’s years of travel as well as from colleagues, the V&A Museum archives and other celebrated institutions. These images capture the architectural context and beauty of the designs, providing a visual compendium of styles and techniques. Taken together they offer a unique chronicle of an environmentally threatened aspect of the region’s cultural, artistic and religious evolution over centuries.

About the Author:

Arthur Millner is a consultant and independent scholar in the field of Indian and Islamic art. He lectures at the London School of Oriental and African Studies, the V&A Museum, the Royal Asiatic Society and the Oriental Rug and Textile Society. He is the author of Damascus Tiles (Prestel, 2015).

An intricate tracing book, source book and colouring book to help you create a wide range of Islamic patterns

The exquisite geometric patterns that adorn buildings inside and out across the Islamic world all have an underlying geometry, ranging from the serenely simple to the extraordinarily complex. Presented here are 48 Islamic patterns, from locations such as Samarkand, Delhi, Fez, Isfahan and Cairo, and 48 loose-leaf sheets, each lightly printed with the geometry of the corresponding featured design.

Creative, inventive and fun, this book will give you the skills needed to produce a wide range of Islamic patterns of varying complexity, and then to complete them in colours of your own choice.

About the Author:

Eric Broug runs Broug Ateliers for Islamic Architecture, Arts and Crafts. He is also the author of Islamic Geometric Patterns and Islamic Geometric Design, both published by Thames & Hudson.

In the field of graphic design, Japanese graphics has established its unique reputation around the world. This book sorts out the development of Japanese graphics into three stages: postwar 40 years, the golden 10 years and the 21st century to the current. Along the way, briefly talk about Japanese aesthetics, Japanese tea ceremony, Japanese traditional painting and manga in order to explore the cultural roots of Japanese graphics.

A large quantity of graphic works by Japanese designers are displayed under four categories: Logo, Poster & Book, Branding and Packaging. To deepen the understanding of Japanese graphics and its development, this book features articles written by renowned designers, including Masaaki Hiromura, Daigo Daikoku, Eisuke Tachikawa, Masaomi Fujita, Eriko Kawakami and Ren Takaya.

1. A comprehensive introduction of the development of Japanese graphics after WWII and masters emerging from corresponding stages.
2. A brief talk the cultural roots of Japanese graphics — Japanese aesthetic, Japanese tea ceremony, Yamato-e, Ukiyo-e and manga
3. Articles written by eminent designers, such as Masaaki Hiromura, Daigo Daikoku
4. A collection of excellent graphic works by Japanese designers

Розкішний огляд всесвітньо відомих колекцій традиційних японських кімоно колекції Халілі, починаючи з періоду Едо і закінчуючи 20 століттям.

Колекція кімоно Халілі складається з понад 200 предметів одягу, що охоплюють 300 років японського текстильного мистецтва. Форма Т-подібного кімоно з прямим швом, що обгортається спереду, мало змінилася протягом століть, проте колекція демонструє вражаючу різноманітність дизайнів. Представлені тут предмети одягу відображають надзвичайну креативність дизайнерів, які створювали витвори мистецтва, що огортали того, хто їх носить. Величезний асортимент візерунків був виконаний у складній комбінації технік, а деякі предмети одягу вимагали майстерних навичок низки різних майстрів.

Колекція Халілі включає офіційні, напівофіційні та неофіційні кімоно, нижнє кімоно та піджаки, які носять жінки, чоловіки та діти. Представлені вишуканий одяг самурайської еліти та заможних купецьких класів періоду Едо (1603–1868), мінливі стилі та нова кольорова палітра одягу періоду Мейдзі (1868–1912), а особливо сміливе та блискуче кімоно епох Тайсьо (1912–26) та ранньої епохи Сьова (1926–1989), в якому використовувалися інноваційні техніки та черпалося нове натхнення як з минулих традицій, так і з сучасного світу.

Тут міжнародна команда авторів досліджує мистецтво та еволюцію кімоно в історичному контексті XVII–XX століть під редакцією Анни Джексон, зберігачки Азійського відділу Музею Вікторії та Альберта в Лондоні.

Зміст:

Вступ • I. Едо (1603–1868) • II. Мейдзі (1868–1912) • III. Тайсьо/Сьова (1912–1989)

Про автора:

Анна Джексон є хранителькою азійського відділу Музею Вікторії та Альберта та почесним куратором колекції Халілі.