PREFACE |
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7 | (10) |
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17 | (22) |
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21 | (1) |
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21 | (2) |
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The Dong Son Culture of Vietnam and its Descendants |
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23 | (16) |
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39 | (54) |
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43 | (5) |
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48 | (1) |
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The Chandra Dynasty of the Arakan |
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49 | (1) |
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50 | (5) |
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55 | (2) |
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57 | (1) |
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The Konbaung Dynasty of Ava, Amarapura, and Mandalay |
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58 | (35) |
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THE ART OF THAILAND AND LAOS |
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93 | (58) |
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95 | (4) |
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99 | (5) |
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104 | (1) |
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105 | (4) |
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109 | (3) |
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Graphic and Decorative Arts |
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112 | (2) |
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114 | (1) |
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115 | (2) |
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117 | (34) |
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151 | (100) |
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Oc Eo: Initial Contacts with Foreign Civilizations |
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154 | (1) |
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The Pre-Angkorian Period: The Complexity of the Historical Data |
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155 | (1) |
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The Art and Architecture of Sambor Prei Kuk |
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156 | (3) |
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The Development of Pre-Angkorian Khmer Architecture in the Seventh and Eighth Centuries |
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159 | (1) |
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Pre-Angkorian Sculpture in the Round |
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160 | (3) |
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Javavarman II and the Beginnings of the Classic Khmer Monarchy |
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163 | (1) |
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163 | (1) |
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164 | (5) |
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The Founding of Angkor under Yasovarman |
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169 | (3) |
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Continuations of the Bakheng Style under Harshavarman I and Isanavarman II |
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172 | (2) |
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The Transfer of the Khmer Capital under Jayavarman IV and Harshavarman II |
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174 | (3) |
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The Return to Angkor under Rajendravarman |
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177 | (2) |
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Banteay Srei: A Unique Foundation |
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179 | (3) |
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The Style of the Khleangs |
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182 | (1) |
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Khmer Art in the Eleventh Century |
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183 | (4) |
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Khmer Classicism: The Style of Angkor Wat |
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187 | (4) |
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The Style of the Bayon and Jayavarman VII: an Interlude in the Form of an Apotheosis |
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191 | (6) |
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Epilogue: The Post-Angkorian Period |
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197 | (54) |
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251 | (58) |
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Introduction: The Natural Setting |
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253 | (1) |
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254 | (2) |
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Linyi and the Origins of Champa: The Earliest Remains |
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256 | (2) |
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The First Flowering of Champa Art (Seventh to Mid-Eighth Century): The Style of Mi Son El |
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258 | (3) |
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Huangwang (Mid-Eighth to Mid-Ninth Century). Hoa Lai and Religious Foundations in the South |
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261 | (3) |
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The Second Heyday of Amaravati (Quang Nam). Indrapura and Dong Duong (875). The Style of Dong Duong (About 875-910) |
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264 | (4) |
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From 910 to 1000: Indrapura (Continued) to the Relocation of the Capital at Vijaya. The Style of Mi Son Al |
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268 | (4) |
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Vijaya until its Fall (1471). The Style of Binh Dinh or Thap Mam and the Yang Mum Style |
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272 | (4) |
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After 1471. Po Rome, the Kuts and Bamongs, the "Treasures of the Cham Kings" |
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276 | (33) |
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309 | (24) |
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311 | (6) |
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317 | (2) |
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319 | (2) |
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321 | (12) |
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333 | (86) |
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336 | (1) |
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Srivijaya (Late Seventh to Early Thirteenth Century) |
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337 | (1) |
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Central Java (Eighth to Early Tenth Century) |
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337 | (1) |
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East Java (Early Tenth to Fifteenth Century) |
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338 | (2) |
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The Earliest Art in Conjunction with Inscriptions |
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340 | (1) |
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Early Images Related to South Asian and Mainland Southeast Asian Styles |
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341 | (1) |
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342 | (1) |
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342 | (1) |
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343 | (2) |
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345 | (2) |
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347 | (1) |
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348 | (1) |
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349 | (1) |
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349 | (2) |
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351 | (2) |
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353 | (1) |
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The Art of Bronze, Silver, and Gold |
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353 | (1) |
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354 | (1) |
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354 | (1) |
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355 | (1) |
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355 | (3) |
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358 | (1) |
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358 | (2) |
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360 | (3) |
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363 | (1) |
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The Art of Bronze, Silver, and Gold |
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363 | (1) |
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364 | (1) |
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364 | (1) |
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Srivijaya, Palembang (South Sumatra) |
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364 | (1) |
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365 | (1) |
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Muara Takus (Central Sumatra) |
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365 | (1) |
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365 | (1) |
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Padang Lawas (North Sumatra) |
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366 | (1) |
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The Art of Kalimantan (West Kalimantan) |
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366 | (1) |
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366 | (1) |
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367 | (1) |
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367 | (1) |
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368 | (1) |
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Continuation in Java and Bali |
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368 | (51) |
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419 | (14) |
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421 | (2) |
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423 | (1) |
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424 | (9) |
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433 | (4) |
DOCUMENTATION FOR THE ILLUSTRATIONS |
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437 | (179) |
BIBLIOGRAPHY |
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616 | (6) |
GLOSSARY |
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622 | (5) |
INDEX |
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627 | |