Книги о восточном дизайне

Monuments and Marvels. A defining record of Islamic art and architecture

Émile Prisse d’Avennes (1807–1879), a French Orientalist, author, and artist, was one of the greatest pre-20th-century Egyptologists. As a youth he dreamed of exploring the Orient and at 19 began traveling to Greece, India, and Palestine. Over the next 40 years he explored Syria, Arabia, Persia, and also spent long periods living in Egypt and Algeria. Having converted to Islam, he traveled under the Arabic name Idris Effendi.

With a keen eye for the symmetry, opulence, and complexity of local visual cultures, Prisse d’Avennes recorded the art and architecture which he encountered on his travels. His work would later become one of the most outstanding surveys on Islamic art and architecture, with Arab Art (L’Art arabe d’après les monuments du Kaire) being published between 1869 and 1877 in Paris.

This TASCHEN edition revives Prisse d’Avennes’s magisterial chromolithograph survey in all its attention to detail, as well as to historical, social, and religious contexts. For further situational understanding, it includes his supplementary studies of the people and costumes of the Nile Valley, which he published in the Oriental Album (Oriental Album: Characters, Costumes, and Modes of Life, the Valley of the Nile, London, 1848). It is a precious record not only of Arabic, Persian, and Ottoman heritage but also of the history of thought and imagination between Europe and the Middle East.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

This book surveys the astonishing array of textiles made, worn, used and displayed throughout the Islamic world, from the glorious fabrics of the past to those still being produced today.

Lavish illustrations feature examples from around the globe, including embroidered Persian prayer cloths, Anatolian ikat coats, Ottoman knitted purses, Caucasian striped silk bags, Berber women’s shawls, Arab appliquéd tent decorations, Yemeni indigo robes, Indonesian batik sarongs, West African strip-woven cloths, and much else besides.

Region-by-region coverage offers concise details of local history, particular textile traditions, materials, dyes, special forms of decoration and information on current practice. Also explored is the fascinating fusion promoted by the merchants, missionaries, migrants and conquerors who travelled the world promulgating Islam and trading textiles widely.

The variety on display is stunning, from hemp to sumptuous velvets and silks; from quilting, felting, beading and knitting to block-printing, tie-dyeing and hand-weaving.

Pieced together much like the fine garments it portrays, this colourful volume guides the reader on an international textile tour, presenting in over 700 glorious photographs a raft of remarkable clothing, people and fabric from all over the world.

Taking the reader from Vietnam to Benin, from Central America to Eastern Europe, the book is brimful of stunning costumes, sumptuous fabrics and breathtaking detail.

Both an ethnographic textile map and a fabric-inspired travelogue, it explores and reveals many secrets about international textile crafts, including weaving, dyeing and appliqué. All designers, as well as anyone who loves fashion, will find this volume a huge source of inspiration, as will fans of off-the-beaten-track travel destinations.

Illustrations: 430 col., 7 b&w

The Kashmiri shawl is rooted in a complex tradition of craft that dates back at least five hundred years. Its uniqueness lies in a combination of factors that have made it virtually impossible to duplicate anywhere else. The Kashmiri Shawl is the story of this textile, re-told through a South Asian perspective. This book re-aligns the design symbolism and technical evolution of the shawl to indigenous sources by placing emphasis on areas previously ignored in earlier histories. The shawl's origins in Kashmir, the rich vein of patronage it thrived on, its changing ornamental face, its regional variations in Persia and Punjab, its enormous impact on the European imagination, all combine to form a narrative shaped to engage the reader.

The authors bring fresh clarity to the many myths that have arisen around the Kashmiri shawl on the South Asian trade circuit. They also interpret most of the complexities in the Kashmiri shawl lexicon. Today, possessing one of these jewel-like collectables is like owning a tiny stake in the heritage of its many-layered cultural identities.

Sherry Rehman is a journalist and former editor of the award-winning Herald news magazine based in Pakistan.

Naheed Jafri is a textile designer from Pakistan and former head of the Design Department of the National Book Foundation.

Japanese art was virtually unknown in the West until the middle of the nineteenth century, when the island nation emerged from 200 years of self-imposed isolation. A passion for Japanese culture swept Europe, and this landmark publication opened the eyes of the world to the grace and beauty of Japanese design.

George Ashdown Audsley, a leader in the revival of English decorative design and one of the first Britons to specialize in Japanese art, assembled this outstanding collection. Featuring 60 full-color plates, it offers spectacular examples of Japanese painting, printing, embroidery, lacquer work, and cloisonné as well as masterpieces in ivory and porcelain.

Informative captions accompany each illustration. Art lovers, rare book collectors, and enthusiasts of Japanese culture will treasure this magnificent selection of timeless art.

Dover original selection from The Ornamental Arts of Japan, volumes I and II, published by Sampson Low, Marston, Searle and Rivington, London, 1882–84

Tokyo Clash is an extraordinary encounter with Japanese design culture. Author and photographer Ralf Bahren presents Japan's megacity in a visually stunning collection of images, vividly colourful and rich in contrast. He transports readers on an exciting trip through Japanese everyday life - a world that doesn't want to conform to the cliche of Asian reticence. Eye-catching signs, glittering games of chance, Manga characters and countless other items in this collection of Japanese products compete for the viewer's attention. They exist, apparently without any contradiction, alongside traditional temples and Buddha statues. This delightful book promises appealing, provocative and sometimes absurd insights into a foreign universe. Get ready for the ride of your life!A"

This is a sister book of “The Traditional Japanese Color”, and focuses on the beauty of Japanese traditional color combination. This book explores the aesthetic of color combination in the traditional Japanese art works, which show its various aspects and constitute the exquisite world of color. About 100 examples of two, three or more color combinations in various fields from painting to annual events in the Japanese art and culture will be included. Color name list of 250 traditional Japanese colors and index with CMYK/ RGB date in the back page.

Following up on Layout Now and Color Now, SendPoints continues to craft practical guidebooks for readers in the design cosmos. This time, it is about the type, which we read and use every day.

Typography Now guides readers through everything they need to know to understand, create, and use Latin, Chinese, and Japanese typefaces in an increasingly interrelated world. The fundamentals, including typographic terms, character structures, style classifications, size, weight, text families, and more will provide readers with prerequisite knowledge to understand and identify different types. Typography Now introduces readers to esteemed type foundries and their design processes and techniques to demonstrate how type is created. The coverage of layout rules will help readers grasp how to effectively design with text on the page as well as combine text with mixed scripts (Chinese, Japanese, and Roman).

In addition, you will find some of the best examples of typographic choices, as well as talks with experts at type foundries about the present and future of type, and demonstrations of some of the hottest new typefaces.

Из всех стран юго-восточной Азии неоспоримое историко-культурное первенство принадлежит Индии. Недаром многие азиатские народы активно заимствовали ее художественные образы. Хотя политически Индия зависела от других государств, ее культура веками сохраняла свою самобытность, основанную в первую очередь на буддийской и индуистской религиях. В то же время, экономические и культурные связи с Европой, мусульманским миром и восточными деспотиями существенно обогатили индийскую художественную традицию.

Книга об увлечении Европы и Америки стилем шинуазри. В ней удачно сочетаются серьезность научного исследования, доступность изложения и богатство иллюстративного материала. Издание рассчитано на искусствоведов, дизайнеров, а также на широкий круг читателей. Перевод с английского.

Настоящее издание является публикацией «Манга» крупнейшего художника Японии Хокусая (1760–1849)

Изначально «Манга» была напечатана в 15 выпусках, выходивших с 1814 по 1878 г. Многие называют ее пра-мангой – прародительницей целого художественного направления в японском искусстве, оказавшей также огромное влияние на европейский импрессионизм.

Русское издание – это первая полная и детально прокомментированная публикация «Манга». Подобных изданий (по полноте иллюстраций и комментариев) в мире не существует. Издание состоит из 4 книг. Первая включает введение в «Манга», переводы текстовых фрагментов и комментарии к каждой из 900 страниц, на которых содержатся изображения около 4000 персонажей и сюжетов, плюс указатели. Три другие книги представляют приближенное к факсимильному воспроизведение всех страниц авторской манга. Все четыре книги помещены под дизайнерский переплет, стилизованный под аутентичную дальневосточную книгу.

Переплет делался и тиснился вручную, вручную также ставилась и киноварная печать Хокусая.

Культура и искусство стран Дальнего Востока — Китая, Японии, Кореи — значительно отличались от тех, что были известны западному человеку. В первую очередь, восточные народы обладали удивительной системой духовных ценностей. Они твердо верили в силу природы и богов, которые ей управляли. Кажущаяся простота линий или однозначность в трактовке образов растительного и животного мира несет глубокий идеологический смысл, являясь сутью орнамента Дальнего Востока.