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OverviewPicturing 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 religion Demonstrates the impact of Islam, ethnicity, nationalism, and globalization on the work and life of an internationally recognized postcolonial artist Weaves together visual and narrative materials to tell an engrossing story of a cosmopolitan Muslim artist Looks at contemporary Islamic art and the way it has been produced in the world's largest Muslim nation, Indonesia Full Product DetailsAuthor: Kenneth M. George (University of Wisconsin-Madison, USA)Publisher: John Wiley and Sons Ltd Imprint: Wiley-Blackwell Dimensions: Width: 17.90cm , Height: 2.10cm , Length: 25.40cm Weight: 0.535kg ISBN: 9781405129589ISBN 10: 1405129581 Pages: 192 Publication Date: 18 December 2009 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: In stock  We have confirmation that this item is in stock with the supplier. It will be ordered in for you and dispatched immediately. Table of ContentsList 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 155ReviewsThis 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)<p> Written in straightforward language with extraordinary sensitivity, this book is addressed to undergraduate students of anthropology, religion, and art history. (Museum Anthropology Review, 2011)<p> <p> 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) 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 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) Author InformationKenneth 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. Tab Content 6Author Website:Countries AvailableAll regions |
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