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History of Far Eastern Art (5th Edition), by Sherman Lee
Download Ebook History of Far Eastern Art (5th Edition), by Sherman Lee
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Covers Himalayan areas--Ladakh, Kashmir, Tibet, and Nepal. New chronologies in Stone age and Bronze Age, China, Korea, and Japan.
- Sales Rank: #101903 in Books
- Brand: Lee, Sherman E.
- Published on: 1994
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 11.74" h x 1.48" w x 9.14" l, 5.26 pounds
- Binding: Hardcover
- 576 pages
From the Publisher
This extensively-illustrated, comprehensive survey history of ALL of Far Eastern art -- from 5000 B.C. to A.D. 1860 -- follows a chronological, geographical/cultural, medium organization throughout.
About the Author
Lee is former director of the Cleveland Museum of Art.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Nice Book, but to narrow focus
By B O.
Nice book that covers a wide breadth of Asian art. The only issue I have with this text is that is focuses almost exclusively on ancient art from the Bronze Age until about 1000. This book is not of much interest to collectors since most of the current interest is in Asian arts from the last 300 years now.
2 of 9 people found the following review helpful.
Zzz.
By Sparkleigh
It's not very useful for students in that it completely lacks concise and emphasized relevant information. There isn't even a glossary in the back! UGH. Bullet points and summaries, please!
74 of 74 people found the following review helpful.
A comprehensive, flawed survey of the subject
By Joe the Critic
I'm reading this book for an Asian Art class, and I find it has both significant strengths and significant weaknesses.
Its major strength is the integrated approach: Sherman Lee organizes the book chronologically and thematically, rather than geographically. Instead of writing a section on Chinese art and a section on Indian art, Lee organizes his material by stage of development (Stone Age pottery) or by cultural movement (Buddhism), for example tracing the development of Buddhist styles in India, the adoption of those styles in China, Japan, and S.E. Asia, and the eventual synthesis of the Indian influences into local styles incorporating indigenous themes. Lee writes eloquently and even passionately about his subject, letting us know which cultures, styles, and artworks he admires. He covers a vast amount of cultures and time periods, easily enough material for dozens of books.
The book does have significant flaws, however. Most frustrating are the black and white photos (presumably a cost-saving measure). Roughly 90% of the images in the book are black and white, and they cannot do justice to most of the subject matter. A second weakness is Lee's writing style, which is sometimes more eloquent than comprehensible. At times I had to reread a section several times in order to figure out what Lee was trying to say. He sometimes seemes to be addressing himself to an audience of art critics who are already familiar with the material, rather than students encountering it for the first time. He will tell us that a particular art work is hieratic in style, or is an example of Daoist style, without explaining why. Also the thematic, rather than chronological, approach means that some topics are fragmented into parts of different chapters. The material on Korea, Southeast Asia, and the Tang Dynasty seemed especially disjointed. The sections on China in particular need more development: Lee provides only a single page of text on the historically pivotal Qin Dynasty, and does only a fair job explaining the influences of Confucianism and Daoism.
One alternative text that deserves consideration is The Art of East Asia, edited by Gabriele Fahr-Becker. Almost of the photographs are in color, and the text is both more comprehensive and more comprehensible than Sherman Lee, in particular the section on China. The text is written by several different authors, one for each region, which has both advantages and disadvantages -- it avoids the fragmentation of Lee's approach, at the expense of integrating it all into one consistent framework. The key disadvantage of The Art of East Asia (compared to Sherman Lee's History of Far Eastern Art) is that it doesn't include India, which contributed some of Asia's most impressive sculptures, and whose religions had tremendous influence on the rest of Asia.
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