The art of the object reached unparalleled heights in the medieval Islamic world, yet the intellectual dimensions of ceramics, metalwares, and other plastic arts in this milieu have not always been acknowledged. Arts of Allusion reveals the object as a crucial site where pre-modern craftsmen of the eastern Mediterranean and Persianate realms engaged in fertile dialogue with poe...(展开全部)

In the late 19th century, an enduring preference for highly ornamented architecture gave way to a budding Modernism of clean lines and unadorned surfaces. At the same moment, everyday objects - cups, saucers, chairs, and tables - began to receive critical attention. Alina Payne addresses this shift, arguing for a new understanding of the genealogy of architectural modernism. Ra...(展开全部)

In the late 19th century, an enduring preference for highly ornamented architecture gave way to a budding Modernism of clean lines and unadorned surfaces. At the same moment, everyday objects - cups, saucers, chairs, and tables - began to receive critical attention. Alina Payne addresses this shift, arguing for a new understanding of the genealogy of architectural modernism. Ra...(展开全部)

Virtually all the masterpieces of Islamic art—the Alhambra, the Taj Mahal, and the Tahmasp Shahnama—were produced during the period from the Mongol conquests in the early thirteenth century to the advent of European colonial rule in the nineteenth. This beautiful book surveys the architecture and arts of the traditional Islamic lands during this era. Conceived as a sequel to Th...(展开全部)

In the early twentieth century, Chinese traditional architecture and the French-derived methods of the École des Beaux-Arts converged in the United States when Chinese students were given scholarships to train as architects at American universities whose design curricula were dominated by Beaux-Arts methods. Upon their return home in the 1920s and 1930s, these graduates began t...(展开全部)

In the early twentieth century, Chinese traditional architecture and the French-derived methods of the École des Beaux-Arts converged in the United States when Chinese students were given scholarships to train as architects at American universities whose design curricula were dominated by Beaux-Arts methods. Upon their return home in the 1920s and 1930s, these graduates began t...(展开全部)

An 'object' is a work of architecture that is expressly cut off from its environment. Objects are not exclusive to any particular architectural style, but objectification has long been central to western architecture. Indeed, it might even be said to be the very strategy by which modernism succeeded in conquering the world. It is all-pervasive because it is consistent with the ...(展开全部)