Filled with exquisite color illustrations, this volume examines an underserved aspect of Asian art history by discussing women artists, collectors, archaeologists, and architects whose efforts have largely been left out of scholarship.
David A. Cofrin Asian Art Manuscript Series
Series Description:
This series is not open for submissions.
The David A. Cofrin Asian Art Manuscript Series embodies the determination and drive that David Cofrin (1923–2009) brought to Asian art. Dr. Cofrin was a serious collector of Asian art, acquiring works from regions as far west as Persia, as far east as Japan, and as far south as India. His broad range of interests reflected his investigative spirit and love of learning new things from various places and periods. Dr. Cofrin was responsible for the formation and growth of the Samuel P. Harn Museum of Art and its many collections, especially those of Asian art.
The goals of the series are to publish symposium proceedings, single author volumes, and collaborative projects offering new contributions to the international Asian Art field while critically reviewing past academic and canonical efforts.
Previous titles in the series include Collectors, Collections, and Collecting the Arts of China: Histories and Challenges (2014) and The Landscape Painting of China: Musings of a Journeyman (2014). These titles are currently out of print.
There are 7 books in this series.
Please note that while you may order forthcoming books at any time, they will not be available for shipment until shortly before publication date
This richly illustrated volume addresses the history of collecting Japanese art and the factors that contributed to the growth of collections in North America following the Meiji Restoration in 1868.
This richly illustrated volume highlights the history of Islamic cosmopolitanism as documented through works of art from the eighth century to the present, examining artistic exchange between Muslim and non-Muslim societies.
This beautifully illustrated volume details how South Asian art has been acquired by public and private collectors in Europe and North America from the mid-nineteenth century onward. It highlights the various journeys and colonial legacies of artwork from Bangladesh, Bhutan, India, Nepal, Pakistan, and Sri Lanka.
This brilliantly illustrated volume assembles the perspectives of art historians, critics, curators, and museum directors from major universities and museums around the world to trace the varied and dynamic experiences of Korean art acquisitions over the past century.
Presenting the complete set of Tokaido gojusan tsui prints in vivid color, along with text from the woodcuts transcribed and translated from the Japanese, this book is an invaluable resource for collectors, art historians, and students of this classic technique.
The essays in Original Intentions explore the highly controversial questions of faking, copying, and replicating Chinese painting, bronzes, ceramics, works on paper, and sculpture.