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Picturing Islam by Kenneth M. George from Wiley
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Sub Title

  • Art and Ethics in a Muslim Lifeworld
  • Author:
  • Edition:
    1
  • Text Language:
    eng
  • Publisher Name:
    Wiley
  • Binding Type:
    Paperback / softback
  • ISBN 10:
    1405129573
  • ISBN 13:
    9781405129572
  • Price:
    USD 41.95
  • Publication Date:
    January 11, 2010
  • No. of Page:
    184
  • Height:
    246.4 mm
  • Width:
    172.7 mm
  • Length:
    15.700 mm
  • Weight:
    13.76 oz

Rights Contact

  • Wiley Transaction
    Wiley
     
Wiley

Offered By Wiley

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  • About the Book
  • Book Contents
  • Author Information
  • Reviews
  • Original Language

Picturing Islam: Art and Ethics in a Muslim Lifeworld explores issues of religion, nationalism, ethnicity, and globalization through the life and work of the prominent contemporary Indonesian artist Abdul Djalil Pirous. Presents a unique addition to the anthropology of art and religionDemonstrates the impact of Islam, ethnicity, nationalism, and globalization on the work and life of an internationally recognized postcolonial artistWeaves together visual and narrative materials to tell an engrossing story of a cosmopolitan Muslim artistLooks at contemporary Islamic art and the way it has been produced in the world's largest Muslim nation, Indonesia

Dislaimer :- Any grant of rights shall not apply to any text, illustrations or supplemental material from other sources that may be incorporated in the original Work.

  • Original Language

List of Illustrations viii

Preface xi

Acknowledgments xiii

Note on Qur'anic Verse xvii

Guide to Indonesian Spelling and Pronunciation xviii

Introduction: Picturing Islam 1

1 Becoming a Muslim Citizen and Artist 15

2 Revelations and Compulsions 39

3 Diptych – Making Art Islamic and Making Islamic Art Indonesian 54

Part 1: Making Art Islamic 54

Part 2: Making Islamic Art Indonesian 66

4 Spiritual Notes in the Social World 80

5 Anguish, Betrayal, Uncertainty, and Faith 107

Conclusion: A Retrospective 132

Afterword: Choosing a Frame 143

References 148

Index 155

  • Original Language

Kenneth M. George is Professor of Anthropology at the University of Wisconsin-Madison, and an associate of its Center for Southeast Asian Studies. His ethnographic work on contemporary Indonesian art has been supported by many fellowships including awards from the National Endowment for the Humanities and the John Simon Guggenheim Foundation. George's first book, Showing Signs of Violence, was awarded the 1998 Harry J. Benda Prize in Southeast Asian Studies by the Association for Asian Studies. He also served as the Editor of the Journal of Asian Studies from 2005 through 2008.

  • Original Language

"This refreshing approach makes this book a welcome contribution to be read in conjunction with other relevant theoretical and disciplinary works." (Journal of Southeast Asian Studies, 1 February 2012)

"This book provides a compelling and richly drawn portrait of an individual artist, and contributes to a deeper understating of the cultural politics of Asia's postcolonial art world and the creative and ethnic sensibilities of its Muslim artists. It is a must-read for contemporary art historians and anthropologists alike." (Journal of Folklore Research, 19 January 2011)

"Written in straightforward language with extraordinary sensitivity, this book is addressed to undergraduate students of anthropology, religion, and art history." (Museum Anthropology Review, 2011)

 

 

“Scholarship on Islam in Indonesia has long lacked a good study of contemporary Islamic art. Beautifully written and theoretically nuanced, Kenneth George’s Picturing Islam is just such book, setting a new standard for the study of Islam and the arts in Indonesia.”
Robert W. Hefner, Boston University

“This book is the future of ethnographic writing about art and a must-read for contemporary art historians and anthropologists alike. No portrait of an artist better reveals the creative processes of an artist so deeply in tune with his spirit and how a spiritual quest becomes an artistic journey.”
Nora A. Taylor, School of the Art Institute of Chicago