Thematische Bibliographien / Art, Southeast Asian – Fiction

Auswahl der wissenschaftlichen Literatur zum Thema „Art, Southeast Asian – Fiction“

Autor: Grafiati

Veröffentlicht am 25. Juli 2024

Zuletzt aktualisiert am 26. Juli 2024

Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an

Wählen Sie eine Art der Quelle aus:

Machen Sie sich mit den Listen der aktuellen Artikel, Bücher, Dissertationen, Berichten und anderer wissenschaftlichen Quellen zum Thema "Art, Southeast Asian – Fiction" bekannt.

Neben jedem Werk im Literaturverzeichnis ist die Option "Zur Bibliographie hinzufügen" verfügbar. Nutzen Sie sie, wird Ihre bibliographische Angabe des gewählten Werkes nach der nötigen Zitierweise (APA, MLA, Harvard, Chicago, Vancouver usw.) automatisch gestaltet.

Sie können auch den vollen Text der wissenschaftlichen Publikation im PDF-Format herunterladen und eine Online-Annotation der Arbeit lesen, wenn die relevanten Parameter in den Metadaten verfügbar sind.

Zeitschriftenartikel zum Thema "Art, Southeast Asian – Fiction"

Bakels, Jet, Robert Layton, J. M. S. Baljon, Herman L. Beck, R. H. Barnes, J. D. M. Platenkamp, Hans Borkent et al. „Book Reviews“. Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 148, Nr. 3 (1992): 529–58. http://dx.doi.org/10.1163/22134379-90003150.

Der volle Inhalt der Quelle

Annotation:

- Jet Bakels, Robert Layton, The anthropology of art. Cambridge: Cambridge University Press, 1991, 258 pp. - J.M.S. Baljon, Herman Leonard Beck, De Islam in Nederland: Romancing religion? [Inaugurele rede theologische faculteit Tilburg 14.2.1992.] Tilburg: Tilburg University Press 1992. - R.H. Barnes, J.D.M. Platenkamp, North Halmahera: Non-Austronesian Languages, Austronesian cultures?, Lecture presented to the Oosters Genootschap in Nederland at Leiden on 23 May 1989, Leiden: Oosters Genootschap in Nederland, 1990. 33 pp. - Hans Borkent, Directory of Southeast Asianists in the Pacific Northwest. Compiled by: Northwest Regional Consortium for Southeast Asian Studies. Seattle, WA: University of Washington [et al.], 1990. 108 pp. - Roy Ellen, Frans Hüsken, Cognation and social organization in Southeast Asia. Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde 145. Leiden: KITLV Press, 1991, 221 pp. figs. tables, index., Jeremy Kemp (eds.) - C. de Jonge, Huub J.W.M. Boelaars, Indonesianisasi. Het omvormingsproces van de katholieke kerk in Indonesië tot de Indonesische katholieke kerk, Kerk en Theologie in Context, 13, Kampen: Kok, 1991, ix + 472 pp. - Nico de Jonge, Gregory Forth, Space and place in eastern Indonesia, University of Kent at Canterbury, Centre of South-east Asian Studies (Occasional Paper no. 16) 1991. 85 pp., ills. - J. Kommers, Bernard Juillerat, Oedipe chasseur. Une mythologie du sujet en Nouvelle-Guinée, P.U.F., Le fil rouge, section 1 Psychanalyse. Paris, 1991. - Gerco Kroes, Signe Howell, Society and cosmos, the Chewong of Peninsular Malaysia, University of Chicago Press, 1989, xv + 294 pp. - Daniel S. Lev, S. Pompe, Indonesian Law 1949-1989: A bibliography of foreign-language materials with brief commentaries on the law, Van Vollenhoven Institute for Law and Administration in Non-Western Countries. Nijhoff, 1992. - A. M. Luyendijk-Elshout, H. den Hertog, De militair geneeskundige verzorging in Atjeh, 1873-1904. Amsterdam, Thesis Publishers, 1991. - G.E. Marrison, Wolfgang Marschall, The Rejang of South Sumatra. Hull: Centre for South-east Asian Studies, 1992, iii + 93 pp., ill. (Occasional Papers no. 19: special issue)., Michele Galizia, Thomas M. Psota (eds.) - Harry A. Poeze, Marijke Barend-van Haeften, Oost-Indie gespiegeld; Nicolaas de Graaff, een schrijvend chirurgijn in dienst van de VOC. Zutphen: Walburg Pers, 1992, 279 pp. - Ratna Saptari, H. Claessen, Het kweekbed ontkiemd; Opstellen aangeboden aan Els Postel. Leiden: VENA, Faculty of Social Sciences, University of Leiden, P.O. Box 9555, 2300 RA., M. van den Engel, D. Plantenga (eds.) - Jerome Rousseau, James J. Fox, The heritage of traditional agriculture among the western Austronesians. Occasional paper of the department of Anthropology. Comparitive Austronesian Project. Research school of Pacific studies. Australian National University, Canberra, Australia, 1992. 89 pp. - Oscar Salemink, Gehan Wijeyewardene, Ethnic groups acrss National boundaries in mainland Southeast Asia. Singapore 1990, Institute of Southeast Asian studies (Social issues in Southeast Asia series). x + 192 pp. - Henk Schulte Nordholt, U. Wikan, Managing turbulent hearts. A Balinese formula for living, Chicago: University of Chicago Press. 1990, xxvi + 343 pp. photos. - Mary Somers Heidhues, Claudine Salmon, Le moment ‘sino-malais’ de la litterature indonesienne. [Cahier d’Archipel 19.] Paris: Association Archipel, 1992. - Heather Sutherland, J.N.F.M. à Campo, Koninklijke Paketvaart Maatschappij; Stoomvaart en staatsvorming in de Indonesische archipel 1888-1914, Hilversum: Verloren, (Erasmus Universiteit Rotterdam, Publikaties van de Faculteit der Historische en Kunstwetenschappen III), 1992, 756 pp., tables, graphics, photographs. - Gerard Termorshuizen, Robin W. Winks, Asia in Western fiction. Honolulu: University of Hawaii Press, 1990. x + 229 pp., James R. Rush (eds.) - John Verhaar, Lourens de Vries, The morphology of Wambon of the Irian Jaya Upper-Digul area. Leiden: KITLV Press, 1992, xiv + 98 pp., Robinia de Vries-Wiersma (eds.) - Maria van Yperen, Cornelia N. Moore, Translation East and West: A cross-cultural approach, Honolulu: University of Hawaii Press. xxv + 259 pp., Lucy Lower (eds.) - Harvey Whitehouse, Klaus Neumann, Not the way it really was: constructing the Tolai past. Honolulu: University of Hawaii Press, 1992.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

KITLV, Redactie. „Book Reviews“. Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 159, Nr. 2 (2003): 405–68. http://dx.doi.org/10.1163/22134379-90003749.

Der volle Inhalt der Quelle

Annotation:

-Leonard Y. Andaya, Michel Jacq-Hergoualc'h, The Malay Peninsula; Crossroads of the maritime silk road (100 BC-1300 AD). [Translated by Victoria Hobson.] Leiden: Brill, 2002, xxxv + 607 pp. [Handbook of oriental studies, 13. -Greg Bankoff, Resil B. Mojares, The war against the Americans; Resistance and collaboration in Cebu 1899-1906. Quezon city: Ateneo de Manila University, 1999, 250 pp. -R.H. Barnes, Andrea Katalin Molnar, Grandchildren of the Ga'e ancestors; Social organization and cosmology among the Hoga Sara of Flores. Leiden: KITLV Press, 2000, xii + 306 pp. [Verhandeling 185.] -Peter Boomgaard, Emmanuel Vigneron, Le territoire et la santé; La transition sanitaire en Polynésie francaise. Paris: CNRS Éditions, 1999, 281 pp. [Espaces et milieux.] -Clara Brakel-Papenhuyzen, Raechelle Rubinstein, Beyond the realm of the senses; The Balinese ritual of kekawin composition. Leiden: KITLV Press, 2000, xv + 293 pp. [Verhandelingen 181.] -Ian Caldwell, O.W. Wolters, History, culture, and region in Southeast Asian perspectives. Ithaca, NY: Southeast Asia program, Cornell University/Singapore: Institute of Southeast Asian studies, 1999, 272 pp. [Studies on Southeast Asia 26.] -Peter van Diermen, Jonathan Rigg, More than the soil; Rural change in Southeast Asia. Harlow, Essex: Prentice Hall / Pearson education, 2001, xv + 184 pp. -Guy Drouot, Martin Stuart-Fox, Historical dictionary of Laos. Second edition. Lanham, Maryland: The Scarecrow Press, 2001, lxi + 527 pp. [Asian/Oceanian historical dictionaries series 35.] [First edition 1992.] -Doris Jedamski, Elsbeth Locher-Scholten, Women and the colonial state; Essays on gender and modernity in the Netherlands Indies 1900-1942. Amsterdam: Amsterdam University Press, 2000, 251 pp. -Carool Kersten, Robert Hampson, Cross-cultural encounters in Joseph Conrad's Malay fiction. Basingstoke: Palgrave, 2000, xi + 248 pp. -Victor T. King, C. Michael Hall ,Tourism in South and Southeast Asia; Issues and cases. Oxford: Butterworth-Heinemann, 2000, xiv + 293 pp., Stephen Page (eds) -John McCarthy, Bernard Sellato, Forest, resources and people in Bulungan; Elements for a history of settlement, trade and social dynamics in Borneo, 1880-2000. Jakarta: Center for international forestry research (CIFOR), 2001, ix + 183 pp. -Naomi M. McPherson, Michael French Smith, Village on the edge; Changing times in Papua New Guinea. Honolulu: University of Hawai'i Press, 2002, xviii + 214 pp. -Gert J. Oostindie, Peter van Wiechen, Vademecum van de Oost- en West-Indische Compagnie Historisch-geografisch overzicht van de Nederlandse aanwezigheid in Afrika, Amerika, Azië en West-Australië vanaf 1602 tot heden. Utrecht: Bestebreurtje, 2002, 381 pp. -Gert J. Oostindie, C.L. Temminck Groll, The Dutch overseas; Architectural Survey; Mutual heritage of four centuries in three continents. (in cooperation with W. van Alphen and with contributions from H.C.A. de Kat, H.C. van Nederveen Meerkerk and L.B. Wevers), Zwolle: Waanders/[Zeist]: Netherlands Department for Conservation, [2002]. 479 pp. -Gert J. Oostindie, M.H. Bartels ,Hollanders uit en thuis; Archeologie, geschiedenis en bouwhistorie gedurende de VOC-tijd in de Oost, de West en thuis; Cultuurhistorie van de Nederlandse expansie. Hilversum: Verloren, 2002, 190 pp. [SCHI-reeks 2.], E.H.P. Cordfunke, H. Sarfatij (eds) -Henk Schulte Nordholt, Tony Day, Fluid iron; State formation in Southeast Asia. Honolulu: University of Hawai'i Press, 2002, xii + 339 pp. -Nick Stanley, Nicholas Thomas ,Double vision; Art histories and colonial histories in the Pacific. Cambridge: Cambridge University Press, 1999, xii + 289 pp., Diane Losche, Jennifer Newell (eds) -Heather Sutherland, David Henley, Jealousy and justice; The indigenous roots of colonial rule in northern Sulawesi. Amsterdam: VU Uitgeverij, 2002, 106 pp. -Gerard Termorshuizen, Piet Hagen, Journalisten in Nederland; Een persgeschiedenis in portretten 1850-2000. Amsterdam: Arbeiderspers, 2002, 600 pp. -Amy E. Wassing, Bart de Prins, Voor keizer en koning; Leonard du Bus de Gisignies 1780-1849; Commissaris-Generaal van Nederlands-Indië. Amsterdam: Balans, 2002, 288 pp. -Robert Wessing, Michaela Appel, Hajatan in Pekayon; Feste bei Heirat und Beschneidung in einem westjavanischen Dorf. München: Verlag des Staatlichen Museums für Völkerkunde, 2001, 160 pp. [Münchner Beiträge zur Völkerkunde, Beiheft I.] -Nicholas J. White, Matthew Jones, Conflict and confrontation in South East Asia, 1961-1965; Britain, the United States, Indonesia and the creation of Malaysia. Cambridge: Cambridge University Press, 2002, xv + 325 pp. -Edwin Wieringa, Peter Riddell, Islam and the Malay-Indonesian world; Transmission and responses. London: Hurst, 2001, xvii + 349 pp. -Edwin Wieringa, Stuart Robson ,Javanese-English dictionary. (With the assistance of Yacinta Kurniasih), Singapore: Periplus, 2002, 821 pp., Singgih Wibisono (eds) -Henk Schulte Nordholt, Edward Aspinall ,Local power and politics in Indonesia; Decentralisation and democracy. Sin gapore: Institute of Southeast Asian studies, 2003, 296 pp. [Indonesia Assessment.], Greg Fealy (eds) -Henke Schulte Nordholt, Coen Holtzappel ,Riding a tiger; Dilemmas of integration and decentralization in Indonesia. Amsterdam: Rozenburg, 2002, 320 pp., Martin Sanders, Milan Titus (eds) -Henk Schulte Nordholt, Minako Sakai, Beyond Jakarta; Regional autonomy and local society in Indonesia. Adelaide: Crawford House, 2002, xvi + 354 pp. -Henk Schulte Nordholt, Damien Kingsbury ,Autonomy and disintegration in Indonesia. London; RoutledgeCurzon, 2003, xiv + 219 pp., Harry Aveling (eds)

APA, Harvard, Vancouver, ISO und andere Zitierweisen

L. Rappa, Antonio. „Magical Realism and Romance in Asia: Avenues for Understanding?“ BOHR International Journal of Social Science and Humanities Research 2, Nr. 1 (2023): 13–23. http://dx.doi.org/10.54646/bijsshr.019.

Der volle Inhalt der Quelle

Annotation:

The classical Greeks believed that Eros was about erotic love. When we forsake the object of our love, it becomes relegated to the dustbin of memories, which makes it difficult to recover or retrieve. This article discusses how romantic love has been celebrated in works of magical realism in Asia that have evolved to include a range of emotions, political resistance (and questioning state authority and authoritarian personalities), fantasy, delusion, illusion, and fiction. One of the most pronouncedly celebrated works on magical realism was Gabriel Garca Márquez’s Love in the Time of Cholera (1985), which was about patience, perseverance, and emotional endurance. It is a frequent reminder of the need to preserve the memory of the object of one’s love, as it appears to be the only way to ensure that the dead never die. Three years later, Salman Rushdie’s The Satanic Verses (1988) analyzed censorship and religious violence in India (and Pakistan), but incurred the wrath of religious fundamentalists in Iran. Gabriel Garca Márquez’s work was translated from Spanish to English and another 56 languages; it became so influential that many scholars used to believe that magical realism originated from Latin America and from the work of Gabriel Garca Márquez. Others believed that it was from several other Latin American scholars, including George Borges. Before Márquez and Borges, western European scholars said that magical realism originated in Germany between 1919 and 1933, i.e., the Neue Sachlichkeit (or Post-Expressionist) inter-war years, in the work of art critic and historian Franz Roh. Neue Sachlichkeit represented a new but unsettling depiction of a society devastated by war. But this claim is not entirely accurate, as there are other, much earlier claims. Nevertheless, for purposes of this article, magical realism began in Latin America and Mexico, most notably with the work of Gabriel Garca Márquez, who would eventually win the Nobel Prize for Literature in 1982. This article is particularly partial to the influences of Márquez’s Love in the Time of Cholera (1985), which pedestalizes the memory of being devoted to the object of first love and the fragility of life. In one sense, the confusion, massacres, and plagues of Márquez’s narrative reveal the decadent human desire to plot, plan, and massacre fellow human beings, as we are naturally driven by a God-given desire to destroy the things that we create. Exactly as God does to man, the article asks us to think about the literature of Asian magical realism in general and of Southeast Asian magical realism in particular. What patterns can be gleaned from a brief survey of how magical realism works in Southeast Asia, and what can those patterns tell us about our strengths and desires within streams of consciousness

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Rappa, Antonio L. „Magical realism and romance in Asia: Avenuesfor understanding?“ BOHR International Journal of Social Science and Humanities Research 2, Nr. 1 (2023): 13–23. http://dx.doi.org/10.54646/bijsshr.2023.19.

Der volle Inhalt der Quelle

Annotation:

The classical Greeks believed that Eros was about erotic love. When we forsake the object of our love, it becomes relegated to the dustbin of memories, which makes it difficult to recover or retrieve. This article discusses how romantic love has been celebrated in works of magical realism in Asia that have evolved to include a range of emotions, political resistance (and questioning state authority and authoritarian personalities), fantasy, delusion, illusion, and fiction. One of the most pronouncedly celebrated works on magical realism was Gabriel GarcaMárquez’sLove in the Time of Cholera(1985) (1), which was about patience, perseverance, and emotional endurance. It is a frequent reminder of the need to preserve the memory of the object of one’s love, as it appears to be the only way to ensure that the dead never die. Three years later, Salman Rushdie’s The Satanic Verses(1988) (2) analyzed censorship and religious violence in India (and Pakistan), but incurred the wrath of religious fundamentalists in Iran. Gabriel Garca Márquez’s work was translated from Spanish to English and another 56languages; it became so influential that many scholars used to believe that magical realism originated from LatinAmerica and from the work of Gabriel Garca Márquez. Others believed that it was from several other Latin Americanscholars, including George Borges. Before Márquez and Borges, western European scholars said that magicalrealism originated in Germany between 1919 and 1933, i.e., the Neue Sachlichkeit (or Post-Expressionist) inter-war years, in the work of art critic and historian Franz Roh. Neue Sachlichkeit represented a new but unsettling depiction of a society devastated by war. But this claim is not entirely accurate, as there are other, much earlier claims. Nevertheless, for purposes of this article, magical realism began in Latin America and Mexico, most notably with the work of Gabriel Garca Márquez, who would eventually win the Nobel Prize for Literature in 1982. This articleis particularly partial to the influences of Márquez’s Love in the Time of Cholera(1985) (1), which pedestalizes the memory of being devoted to the object of first love and the fragility of life. In one sense, the confusion, massacres, and plagues of Márquez’s narrative reveal the decadent human desire to plot, plan, and massacre fellow human beings, as we are naturally driven by a God-given desire to destroy the things that we create. Exactly as Goddoes to man, the article asks us to think about the literature of Asian magical realism in general and of Southeast Asian magical realism in particular. What patterns can be gleaned from a brief survey of how magical realism works in Southeast Asia, and what can those patterns tell us about our strengths and desires within streams of consciousness?

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Levin, Cecelia, Joyce van Fenema, Jim Supangkat, Alice Guillermo, Cid Reyes, Suise Wong und Apinan Poshyananda. „Southeast Asian Art Today.“ Pacific Affairs 70, Nr. 3 (1997): 468. http://dx.doi.org/10.2307/2761067.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Kee, Joan. „Introduction Contemporary Southeast Asian Art“. Third Text 25, Nr. 4 (Juli 2011): 371–81. http://dx.doi.org/10.1080/09528822.2011.587681.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

O'Connor, Stanley J. „Humane Literacy and Southeast Asian Art“. Journal of Southeast Asian Studies 26, Nr. 1 (März 1995): 147–58. http://dx.doi.org/10.1017/s0022463400010547.

Der volle Inhalt der Quelle

Annotation:

Humane literacy? An essay on undergraduate education? Isn't it a solecism to broach such concerns in this special issue ofThe Journal of Southeast Asian Studieswhere contributors are invited to take stock of the current state of scholarship in various fields of study? My response is simply if not now, then when? I am writing from North America where Southeast Asian studies has gained only a precarious beach-head in the academy and nowhere is this more evident than in the very limited undergraduate investment in our field. Despite the fact that any expansion of academic appointments for specialists on the region will be spurred by evidence of general student interest, a concern with that issue, on our occasions of collective self scrutiny, has been subordinated to questions of research direction, funding strategies, and the prevailing degree of accord between the various disciplines and area studies. But, however ancillary the general education mission of the undergraduate college may seem to professional scholars eager to get on both with their research and the training of graduate students, it is nevertheless a principal responsibility of those deans who control academic appointments. We differ from our colleagues within Southeast Asia where an interest in the region can be either assumed, or expected eventually to develop. While American universities place globalization high on their agendas today, it is not at all evident that their students will wish to study about Southeast Asia rather than, say, Africa or Latin America. So we do need to focus on how we may demonstrate the centrality of what we do to the process of self-discovery and the integration of learning that is at the heart of general education.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Flores, Patrick. „Southeast Asian History as Contemporary Art“. American Historical Review 128, Nr. 4 (01.12.2023): 1699–705. http://dx.doi.org/10.1093/ahr/rhad479.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Clark, John. „Negotiating Change in Recent Southeast Asian Art“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 2, Nr. 2 (2018): 43–92. http://dx.doi.org/10.1353/sen.2018.0002.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Clark, John. „Teaching Modern and Contemporary Southeast Asian Art“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 4, Nr. 1 (2020): 161–62. http://dx.doi.org/10.1353/sen.2020.0017.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Mehr Quellen

Dissertationen zum Thema "Art, Southeast Asian – Fiction"

Soon, Simon Sien Yong. „What is Left of Art? The Spatio‐Visual Practice of Political Art in Indonesia, Singapore, Thailand, and the Philippines, 1950s–1970s“. Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/14186.

Der volle Inhalt der Quelle

Annotation:

What is Left of Art? begins with a simple question about the place of art during a period of great socio-political transformation. How did artists respond to the upheaval brought about by modern political changes? Where was art located in times of moral and political crises? In my research, I take the left-leaning political art movements in Indonesia, Singapore, Thailand and the Philippines as case studies, looking at the period from 1950s – 1970s. This thesis makes an original contribution to the critical inquiry of left-leaning political art through a comparative study that posits discursive affinity of this form of art practice across four countries that have hitherto not been considered collectively. Instead of focusing on analysing the meaning behind the works of art or simply providing a descriptive historical account of these movements, I have identified three domains of political art for productive inquiry. These are the organisation, the text and the street. While these components, and the artistic strategies explored within them, were not exclusive to Southeast Asian modern art, as demonstrated by the social art histories in many other different contexts, the specific conditions of post-war Southeast Asia produce a common historical experience. It underlines the significance of historical structure in shaping the character of politicisation of art in Southeast Asia. My thesis explores how these domains of political art could be understood as strategies explored by the cultural left to rethink received discourses and institutions of modern art in order to engender a different aesthetic paradigm centered on the commitment towards the people. Often these include re-imagining how art constituted a spatio-visual practice that shaped or intervened in modern urban spaces. The street in this sense represents a significant trope and site of engagement with a broader public. Through this reading, I hope to demonstrate the terms of artistic production through which I am able to make visible an archaeology of political and ideological pressures that shape the artistic modernities of post-war Southeast Asia.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Clarke, Wesley S. „Return to P'ong Tuk: Preliminary Reconnaissance of a Seminal Dvaravati Site in West-central Thailand“. Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1321396671.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Helland, Madeline. „Syncretic Souvenirs: An Investigation of Two Modern Indian Manuscripts“. Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1185.

Der volle Inhalt der Quelle

Annotation:

The objective of this project was to establish a provenance for two Indian manuscripts that were recently discovered in the collections at Scripps College. Based on their illuminations, script, and binding structure, I was able to conclude that these two manuscripts are Hindu religious texts created around the 19th or 20th century. To determine an approximate origin and the significance of these volumes, my research focused on the syncretism of religion, material history, and power dynamics in India. Their context was specifically framed within the history of manuscript construction and conservation.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

He, Man. „The Peacock on Stage and in Print: A Study of the 1920s New Drama Adaptations of Southeast Flies the Peacock“. The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250531758.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Shahir, Safrizal. „Islamic art from Southeast Asia: prominent or periphery? case study of pair of doors for royal compound (Lawon kori) dated from the sixteenth century from the Art Gallery of South Australia Asian Art Collection“. Thesis, 2007. http://hdl.handle.net/2440/128551.

Der volle Inhalt der Quelle

Annotation:

Central subject of this dissertation is the Pair of doors, Lawon kori, dated circa 1560, from the collection of Asian Art at the Gallery of South Australia. The Lawon kori was made in Lampung, a South Sumatra society that embraced Islam in the sixteenth century and so it could be regarded as an example of Islamic art of Southeast Asia. This object was selected for research in order to examine the development of early Islamic art in the region and its relationship to the wider world of Islamic aesthetics. The second part of the thesis is an analysis of the Lawon kori that may be described as among the most important sculptural objects of early Islamic art to survive from Southeast Asia. The visual language of the Lawon kori demonstrably emerges from its anonymous maker's understanding of Islamic belief, which had become interwoven with the local aesthetic traditions of the Lampung community. The work of art is a testament to the diversity of expression that existed within the unity of Islamic art as it developed in Southeast Asia.
Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2007.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Antoinette, Michelle Marie. „Images that quiver : the in/visible geographies of 'Southeast Asian' contemporary art“. Phd thesis, 2005. http://hdl.handle.net/1885/9266.

Der volle Inhalt der Quelle

Annotation:

Despite what mainstream knowledge of Southeast Asian contemporary art of the 1990s might suggest, Southeast Asian artists have not been exclusively interested in matters of cultural biography in their art practice. In this thesis, I engage with the art of several established artists from Indonesia, Malaysia, the Philippines, and Singapore to take issue with the dominant interpretative frames of cultural origin which have informed representations of Southeast Asian contemporary art in art history, criticism and exhibition since the 1990s. From the time of its international emergence in the 1990s, Southeast Asian avant-garde art has been viewed mostly through ethnographic models of representation that have encouraged a spectacularisation of cultural difference. In the history of international art exhibitions, spectacles of 'the Other' have been previously premised on constructs of 'race' and 'nation'. In recent decades, however, the paradigmatic lens of 'culture' has also served a similar function in framing art as an artefact of essentialised social difference, especially national and regional difference. In short, culture has often taken the place of other thematic issues in the representation of Southeast Asian art, and the cultural identity of the artist has been accorded greater importance than the content of their work. This thesis not only challenges the art historically defined geographies of art making and social identification which are based on simplified nationalist and regionalist cultural frameworks, but also, questions the primacy of cultural biography, especially over art form, in the interpretation and representation of art by Southeast Asian artists. Against a history of essentialist culturalist inscriptions, I explore alternate issues of investigation in Southeast Asian contemporary art since the 1990s. I point to the disjuncture between on the one hand, mainstream curatorial cartographies used to map Southeast Asian art, and on the other, the alternative cartographic imaginations of Southeast Asia that are inspired by the actual art practice of several Southeast Asian artists. I argue that existing definitions of Southeast Asian art offered in mainstream exhibitions and art writing are critically expanded by drawing on alternative theoretical approaches for art interpretation and by focusing on the actual thematic and formalistic content of art. Specifically, I examine the multi-spatial movements and mobile expressions of contemporary art and life within globalising contexts (Chapter 5), the metaphoric spaces and material containers of memory (Chapter 6), and the fluid and complex geographies of bodies (Chapter 7) that have been offered as other significant themes in instances of Southeast Asian art production. These principal themes, I argue, have generally been neglected for a privileging of cultural difference that is, furthermore, often regarded in isolation from such concerns. In calling attention to these other issues (of mobility, memory, and the body), Southeast Asia is reinvented to replace traditional spatial frameworks, refusing the hegemony of culturalist readings and allowing new ways for mapping Southeast Asian difference, as well as Southeast Asian art. Moreover, a renewed attention to the formal and material concerns related to artistic practice provides a critical sway in this thesis, from the hegemonic position of socially-inscribed discourses of Southeast Asian contemporary art; to this end, I adopt a relational critical framework that recognises both the visual and cultural contexts that inform Southeast Asian art.In this way, I suggest a necessary and interconnected relationship between art's formal properties and its socio-cultural dimensions. In summary, I propose that contemporary visual expressions by Southeast Asian artists offer alternatives to traditional art-historical definitions of 'Southeast Asian' space, place and belonging, forcing us to 'look' beyond the significance of 'nation' or 'culture' and even 'race', as the primary markers of and means for experiencing Southeast Asian art.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Bücher zum Thema "Art, Southeast Asian – Fiction"

Sotheby's (Firm). Indian & Southeast Asian art. New York: Sotheby's, 2002.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

van, Fenema Joyce, Hrsg. Southeast Asian art today. [Singapore]: G and B Arts International, 1996.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Maud, Girard-Geslan, Hrsg. Art of Southeast Asia. New York: Harry N. Abrams, Inc., 1998.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Manson & Woods International Inc Christie. Indian and southeast Asian art. New York: Christie's, 2002.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Chu, Marjorie. Understanding contemporary Southeast Asian art. Singapore: Art Forum, 2003.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Christie's, Hrsg. Tribal and southeast Asian art. Amsterdam: Christie's, 1998.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

(Firm), Sotheby's, Hrsg. Indian and Southeast Asian art. New York: Sotheby's, 2000.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Bollansee, Marc. Southeast Asian contemporary art now. Singapore: Straits Times Press, 2013.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Sotheby's (Firm). Indian and southeast Asian art. New York: Sotheby's, 2001.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Quek, Tse Kwang. 30 art friends: Collecting Southeast Asian art. Singapore: Gatehouse Publishing, 2014.

Den vollen Inhalt der Quelle finden

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Mehr Quellen

Buchteile zum Thema "Art, Southeast Asian – Fiction"

Hägerdal, Hans. „The Weirdness of White Strangers: Imaginations of Westerners in Southeast Asian Lore and Tradition“. In History and Speculative Fiction, 83–99. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-42235-5_5.

Der volle Inhalt der Quelle

Annotation:

AbstractAs is well known, Western writers since the Middle Ages have frequently created mythologizing and exotic imaginations of Asian cultural elements. However, the opposite is true as well. The present study discusses how Europeans could be inserted into Southeast Asian mythologizing and fantastic accounts where elements of the supernatural and essential strangeness are dominant tropes. Examples are taken from a range of legendary and literary texts from pre-colonial and early-colonial Southeast Asia which use the foreignness of the Europeans to emphasize proper values among the creators’ own ethnic group—in other words, employing the Other as a negative mirror, thus enhancing certain narrative and moralistic tropes. All this provides new insights into premodern Southeast Asian perceptions of ethnic and cultural borders.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Hillenbrand, Robert. „The Islamic art of Southeast Asia“. In Southeast Asian Islam, 234–62. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781032702902-14.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Soemantri, Hilda. „Modem Indonesian Ceramic Art“. In Studies in Southeast Asian Art, herausgegeben von Nora A. Taylor, 74–85. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-006.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Taylor, Nora A. „Introduction“. In Studies in Southeast Asian Art, herausgegeben von Nora A. Taylor, 9–14. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-002.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Wolters, Oliver. „Stanley J. O'Connor“. In Studies in Southeast Asian Art, herausgegeben von Nora A. Taylor, 15–31. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-003.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

McGowan, Kaja. „Maritime Travelers and Tillers of the Soil: Reading the Landscape(s) of Batur“. In Studies in Southeast Asian Art, herausgegeben von Nora A. Taylor, 32–48. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-004.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Mrázek, Jan. „More than a Picture: The Instrumental Quality of the Shadow Puppet“. In Studies in Southeast Asian Art, herausgegeben von Nora A. Taylor, 49–73. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-005.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Harrisson, Barbara. „Memories of a Ceramic Expert“. In Studies in Southeast Asian Art, herausgegeben von Nora A. Taylor, 86–92. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-007.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Wright, Astri. „Lucia Hartini, Javanese Painter: Against the Grain, Towards Herself“. In Studies in Southeast Asian Art, herausgegeben von Nora A. Taylor, 93–121. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-008.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Cary, Caverlee. „In the Image of the King: Two Photographs from Nineteenth-Century Siam“. In Studies in Southeast Asian Art, herausgegeben von Nora A. Taylor, 122–42. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501732584-009.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Konferenzberichte zum Thema "Art, Southeast Asian – Fiction"

Wong-Powell, Jennifer. „The Art of Observation and Documentation of Children’s Play“. In The Southeast Asian Conference on Education 2024. The International Academic Forum(IAFOR), 2024. http://dx.doi.org/10.22492/issn.2435-5240.2024.12.

Der volle Inhalt der Quelle

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Jarry, Rémy. „The Factors of Market Success and Failure of Contemporary Artists from ASEAN countries | ปัจจัยทางการตลาด ที่ทำาให้ศิลปินร่วมสมัยจากประเทศอาเซียนประสบ ความสำาเร็จ หรือ ล้มเหลว“. In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-23.

Der volle Inhalt der Quelle

Annotation:

The market of contemporary art from Southeast Asia hasn’t been explored in-depth, despite its rise in sales and notoriety over the last two decades at national and international levels. Our aim is to identify the factors of success and failure of contemporary artists from ASEAN countries in the global art market. To do so, we map the trajectories of those artists and evaluate the role of the other stakeholders of the art world. Our methodology relies on a multidisciplinary approach, balancing quantitative and qualitative data. The period of study focuses on the art market data since 2000.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Saw, Chaw Yeh, und Hsiao Mei Goh. „The Rock Art in Kinta Valley, West Malaysia: A synthesis Lukisan Gua di Lembah Kinta, Semenanjung Malaysia: Satu sintesis“. In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-10.

Der volle Inhalt der Quelle

Annotation:

This paper presents a synthesis of the new rock art mapping project in the Kinta Valley of West Malaysia. Through our collaboration with Kinta Valley Watch, we have successfully located more than 30 new rock art sites between 2019 and June 2021. The rock art is represented by both red and black paintings, with a wide variety of motifs including anthropomorph, zoomorph, botanic, watercraft, weapon, animal rider, handprint, geometric shape, line art, and other abstract design. This discovery is instrumental to the contemporary rock art research in Malaysia and demonstrated a collective effort in rock art research through long-term collaboration with the local stakeholders. Kertas kerja ini merupakan satu sintesis hasil daripada projek pemetaan lukisan gua di Lembah Kinta, Semenanjung Malaysia. Melalui kolaborasi dengan organisasi tempatan iaitu Kinta Valley Watch, kami telah mengenalpasti lebih daripada 30 lokasi lukisan gua antara tahun 2019 dan 2021. Antara bentuk lukisan gua yang dijumpai termasuklah antropomor ik ( igura manusia), zoomor ik ( igura haiwan), tumbuh-tumbuhan, perahu, senjata, penunggang haiwan, gambar tangan, geometrik, seni garisan dan simbol abstrak. Jumpaan ini amat berharga untuk kajian lukisan gua di Malaysia dan memaparkan satu usaha bersama demi kajian lukisan gua melalui kolaborasi jangka panjang dengan komuniti tempatan.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Narayanan, Vasanth. „The Forgotten Women: Investigating the Absence of the Female Artist from Traditionally Male-Centric Southeast Asian Contemporary Art Historical Narratives“. In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-24.

Der volle Inhalt der Quelle

Annotation:

Until recently, Southeast Asian contemporary art’s historical narratives overlooked the influence of female artists. This underrepresentation of female artists is not unique to Asia, nor is it exclusive to contemporary art. Curators’ decisions and other factors may have contributed to the trend in part. However, within the realm of modern art, possibilities have lately developed that may expose the public to the work of more female artists. These include curating shows exclusively for female artists and prominently showcasing the work of female artists on the Internet.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Purnell, Maria Kathryn N. „The Prevailing Art and Tradition of Intentional Dental Modification in Prehistoric Southeast Asia | Ang Namamayaning Sining at Tradisyon ng Intensyonal na Modipikasyon ng Ngipin sa Sinaunang Timog-Silangang Asya“. In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-06.

Der volle Inhalt der Quelle

Annotation:

Since prehistoric times, humans have changed select characteristics of their bodies, such as tattooing, hair-dyeing, cranial and feet deforming, and teeth modifying. Teeth are some of the most well-preserved remains in the archaeological record, with which we can study past cultural and ritualistic beliefs. Previous publications on dental modifications in Southeast Asia are mostly limited to the mainland, thus this paper reviews modifications observed in prehistoric sites across Southeast Asia, identifying common techniques and motivations. Findings show occurrence of dental ablation, filing, plating, and coloration, which began in the Neolithic, disappeared in the Bronze Age, but reappeared in the Iron Age, although the absence may be due to sampling shortage. Modifications have been associated to aestheticism, group identity, rite of passage, practicality, and medical benefit, but whether these all ring true remains uncertain. It is recommended that future research expand scope for better data representation, analyze modifications with context of community profiles, and investigate the significance of migration in the prevalence of certain techniques and patterns as part of understanding the cultural aspects of past humans’ lives, and assess the cultural (dis)continuity of these traditions into modern-day forms of body modification, art, healing, self-expression, and identity. Magmula sinaunang panahon, maitatala ang mga pagbabagong pisikal sa katawan, tulad ng pagtatato, pagkukulay ng buhok, at pag-iiba-anyo ng ulo, paa, at ngipin. Nabibilang ang ngipin sa mga lubos na napepreserbang artepakto sa arkiyoloji, at sa gayo’y magagamit pang-aral ng mga nakalipas na kultura at ritwal. Kasalukuyang limitado sa mainland ng Timog-Silangang Asya ang saliksik sa intensyonal na modipikasyon ng ngipin, kaya tatalakayin dito ang mga sinaunang modipikasyong nabanggit sa buong rehiyon, at tutukuyin ang pagkakatulad sa mga teknik at motibasyon. Nagsimula ang paglaganap ng sadyang pagtatanggal, pagliliha, pagkakalupkop, at pagkukulay ng ngipin noong Panahong Neolitiko, naglaho noong Panahong Tanso, at bumalik muli pagsapit ng Panahong Bakal, ngunit maaaring iukol ang paglaho sa kakulangan ng datos. Hindi pa tiyak, pero pwedeng ang mga modipkasyon sa estetisismo, pakikisama, pagriritwal, praktikalidad, at benepisyong-medikal. Inirerekomendang palawakin sa susunod na saliksik ang sakop para sa mas mabuting representasyon ng datos, suriin ang mga modipikasyon sa konteksto ng komunidad, at imbestigahan ang kahalagahan ng migrasyon sa paglaganap ng mga partikular na teknik at padron habang inuunawa ang mga aspetong kultural ng sinaunang panahon, at tasahan ang pagpapatuloy (o hindi) ng mga tradisyong nabanggit sa kasalukuyang modipikasyon ng katawan, sining, paggagamot, pagpapahayag ng sarili, at identidad.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Wardani, Ria Kusuma. „Creativity and Innovation in Cultural Heritage Management in Plunturan Village, Pulung District, Ponorogo Regency, East Java Province of Indonesia towards Tourism Village“. In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-31.

Der volle Inhalt der Quelle

Annotation:

Indonesia is the largest country in the world. One of the legendary areas is Ponorogo Regency. Focused on Plunturan Village which has cultural diversity which is trying to become a tourist village. Researchers are interested in taking this research because Plunturan Village relies more on customs and has a unique cultural heritage. Data collection techniques used are interviews, observation and literature study. The research method used is descriptive qualitative. The creativity and innovation in the management of cultural heritage include the art of Reyog Ponorogo in various versions and generations, Gajah-Gajahan and Keling, Orek-Orek and Tledekan, Bumbung Suloyo, Karawitan, Oncor Obor, and the Selawenan Festival. Indonesia adalah negara terbesar di dunia. Salah satu wilayah yang melegenda adalah Kabupaten Ponorogo. Difokuskan pada Desa Plunturan yang memiliki keberagaman budaya yang sedang mengupayakan menjadi desa wisata. Peneliti tertarik untuk mengambil penelitian ini karena Desa Plunturan lebih mengandalkan adat istiadat dan memiliki keunikan pada warisan budayanya. Teknik pengambilan data yang digunakan yaitu wawancara, observasi dan studi literatur. Metode penelitian yang digunakan adalah deskriptif kualitatif. Adapun bentuk-bentuk kreativitas dan inovasi dalam pengelolaan warisan budaya antara lain kesenian Reyog Ponorogo dalam berbagai versi dan generasi, Gajah-Gajahan dan Keling, Orek-Orek dan Tledekan, Bumbung Suloyo, Karawitan, Oncor Obor, dan Festival Selawenan.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Chandnasaro, Dharakorn. „The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำ􀄕ชุดโบร􀄕ณคดี: ก􀄕รศึกษ􀄕เชิงประวัติศ􀄕สตร์ และก􀄕รบันทึกท่􀄕ร 􀄕ด้วยล􀄕บ􀄕นโนเทชัน“. In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-26.

Der volle Inhalt der Quelle

Annotation:

The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of dances were premiered on 25 May 1967, in front of King Rama IX and Queen Sirikit. Regarding to the movement of the body, there is unique identity that reflects the ethnicity of the area and the civilization from the land where the archaeological evidence of each era was discovered. They were created according to the imagination of the choreographers of the dance posture. In addition, The Series of Archaeological Dances are popularly performed on various occasions continuously until present day. ระบ􀄬ำชุดโบรำณคดี เป็นผลงำนสร้ำงสรรค์ด้ำนนำฏศิลป์ของประเทศไทยที่ได้รับแรงบันดำลใจจำกข้อมูลและหลัก ฐำนด้ำนศิลปะโบรำณวัตถุสถำนที่ถูกค้นพบได้ในพื้นที่ประเทศไทย เพื่อต้องกำรให้หลักฐำนโบรำณคดีที่ค้นพบได้ กลับมำมีชีวิตชีวำอีกครั้งในรูปแบบของนำฏศิลป์ โดยใช้ชื่อยุคสมัยทำงศิลปะที่นักวิชำกำรประวัติศำสตร์ระบุไว้ มำ ก􀄬ำหนดเป็นชื่อของกำรแสดงจ􀄬ำนวน 5 ชุด คือ ระบ􀄬ำทวำรวดี ระบ􀄬ำศรีวิชัย ระบ􀄬ำลพบุรี ระบ􀄬ำเชียงแสน และระบ􀄬ำ สุโขทัย กำรแสดงแต่ละชุดเป็นลักษณะแบบเอกเทศ ไม่มีเนื้อหำเกี่ยวข้องกัน จัดแสดงรอบปฐมทัศน์เมื่อวันที่ 25 พฤษภำคม พ.ศ. 2510 ต่อหน้ำพระที่นั่งของในหลวงรัชกำลที่ 9 และพระรำชินีในรัชกำลที่ 9 ในด้ำนกำรเคลื่อนไหว ร่ำงกำยมีเอกลักษณ์ที่สะท้อนควำมเป็นชำติพันธุ์ของพื้นที่และอำรยธรรมดินแดนที่ค้นพบหลักฐำนโบรำณคดีแต่ละ ยุคสมัย ซึ่งใช้รูปแบบกำรสร้ำงสรรค์ของนำฏศิลป์ไทยตำมจินตนำกำรของผู้ประดิษฐ์ท่ำร􀄬ำ นอกจำกนี้ระบ􀄬ำชุด โบรำณคดีได้รับควำมนิยมในกำรจัดแสดงอย่ำงต่อเนื่องในวำระต่ำง ๆ มำจนถึงปัจจุบัน

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Wir bieten Rabatte auf alle Premium-Pläne für Autoren, deren Werke in thematische Literatursammlungen aufgenommen wurden. Kontaktieren Sie uns, um einen einzigartigen Promo-Code zu erhalten!