No comments about J.S. Bach: The Complete Lute Works.

5 comments about Islam Art and Architecture.

1. I was lucky to get this book at 1/2 price for $25. I am amazed by the way this book has been written. For people who are interested in reading islamic history, achievements, milestones this is the one. It talks about the Islamic civilization in different parts of the world. The Pictures are great, paper quality is excellent. It is definately worth its price. Book is really heavy, that tells you it has lots of pages.
   
   My honest opinion is this book is a must buy for interested parties. Greate job authors, translators, editors, publishers.
   
   Thank you for this great work.



2. I can't add much more than has been said by the other reviewers here - this is a fascinating study of the art and architecture of Islam at a great price.
   
   My one reservation, however, is the general size of the pictures. Unlike the other books in this series which I have (Gothic, Romanesque, Egypt, Baroque) there are far fewer full page bleeds - it is much more scrappy and bitty in its presentation of the images. It is more like a giant guide book.
   
   Considering most people will be interested in this for the images (it is, after all, an art book), you are left wondering why the book is so big when most of the images don't make use of it.



3. Size does matter-this book is huge particularly if you consider the giveaway price(the paper costs more).Ok so it's big and it has pictures-nice ones!It's also comprehensive,diverse and well written,this book is the best there is for an amazing tour of islamic art and architecture.



4. Excellent book. Beautifully written, great photography...and a wonderful tour of the world of Islam. As always, Konemann has provided readers with many, many hours of pleasure.



5. This is simply a magnificent book. Written and published originally in German, well-translated (it reads as if it had been originally written in English, which indicates a good translation), beautifully put together, well edited, with hundreds of full color photographs of mosaics, mosques, palaces, forts, towns, manuscripts, jewels, and mausoleums. The book claims attention. It is a full history of Islam, with maps and timelines in every chapter to help the reader in what might be unfamiliar territory, plus a full history of the development of Art and Architecture in 14 centuries of Islamic culture around the globe. Every page has at least one photograph, and all photographs are of great quality, sharp and clear. Even the photo on page 334, one of the very few in black and white, is good, almost haunting, since the walls shown are in ruins. The paper is also high quality. From the cover onwards it is clear that there is great respect for the culture represented in this book, and for the reader who will go through 600 hundred pages of text and supporting material. My personal highlights: night shot of the Kaaba, in Mecca, p. 2 and 13. Map of Europe, Asia, and most of Africa with sharp, thumbnail-like photographs of Muslim architectonic marvels in those three continents, p. 6-7. Al-Mutawakkil mosque, p. 103. What the facade of the Azhar Mosque in Cairo (p. 140) and the Almoravid clay seal (p. 247) have in common, which is a testimony to the endurance of symbols. The entire "Spain and Morocco" chapter, 207-299.

   The appendix, starting on 601, is helpful and clear. The publisher, Könemann, is reponsible for another winner, "Gothic Architecture, Sculpture, Painting," but I believe "Islam, Art and Architecture" is better overall. This book is big and heavy, being more practical as a source of information than as a text that you would read from cover to cover or carry around. I highly recommend it, though, if you are interested in Islam at all from any perspective. My interest is mostly historical, but I can see already that this is a book that I will return to again and again.

No comments about Writing on the Wall: Word and Image in Modern Art.

3 comments about Watercolor: Chinese Brush (HT233).

1. I've purchased 3 other Chinese Painting books recently, looking for one where I like the style presented. Lucy Wang is one of my favorites. Her style is brighter and looser than most "traditional" Chinese painting. I don't always like the Spontaneous style that she employs, because it can look very blotchy. But because she uses a lot of bright color, and less of the black ink, I don't find it objectionable in her paintings. She's also contemporary in her use of watercolor paper, rather then the traditional "rice" paper (actually mulberry or other plants). So your strokes might bleed a bit more than hers do, if you use the rice or Sumi-e paper.
   
   The book features a short tutorial on the materials and strokes. They aren't gone into in much depth, but the projects all have arrows showing the direction of the brushstrokes. Then she moves on to 14 projects. There's one Siamese cat picture and a traditional style landscape; the rest are florals, nearly all of which feature a bird as well. Wang does 3 of the 4 traditional "Four Gentlemen" subjects, the Bamboo, Plum Blossom, and Orchid - oddly, the Chrysanthemum is missing. She depicts flowers and birds from all over the world, not just China, including 2 hummingbirds. The flowers show nice variation, but many of the leaves seem kind of generic - I would have liked them to be more specific to the plant being rendered.
   
   I like the large format of this edition - it really lets you examine the pictures in detail. BE ADVISED, however - as far as I can tell, this is the EXACT same book offered in the Walter Foster Chinese Brush Painting Kit, just in a larger size. If you already have the brushes and other materials, this book is good to get; otherwise, the kit is a better value.



2. Nice for beginners, easy to follow instructions, even older children can enjoy this with minimal guidence.



3. This book is an excellant reference and guide for the beginner and advanced artist alike. Several attractive subjects are demonstrated with step by step examples of the tradiitional brush strokes used in this ancient art form.

No comments about Islamic Ceramics (Ashmolean-Christie's Handbooks).

No comments about Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying.

3 comments about Japanese Horror Cinema.

1. This book is an excellent collection of thoughtful and engaging criticism on contemporary Japanese horror cinema. Its appropriate for university classrooms as well as for individual consumption by film buffs. If you enjoy insightful discussions of this incredibly popular film genre, pick up a copy of this book.



2. The essays in this book attempt to explain the recent popularity of J-horror among Japanese and America audiences but they are simply too dense and full of postmodern jargon to be effective for use in any class. I was hoping for more discussion of the influences of Japanese folklore and supernatural stories. Also reveals the anti-American bias of academia (Battle Royale II is superior to Saving Private Ryan for courageously re-enacting the fall of the World Trade Center towers!). Avoid unless you really are into this kind of reading.



3. The recent surge of popularity in Japanese horror cinema has not been accompanied by books examining and illuminating the phenomena. Very little has been written on what is an elusive and complicated world.
   
   Filling this gap, "Japanese Horror Cinema" is an academic study of the various worlds of Japanese horror cinema, an assemblage of essays by various authors each elucidating one of four essential topics. The essays are mainly sociologically based, involving more of the psychology of Japanese fear rather than cinematography or film-studies based. Each focus area is accompanied by a case study of an individual horror film or series.
   
   "History, Tradition and Japanese Horror Cinema" looks at films from a historical basis, looking at the evolution and foundation of Japanese Horror Cinema. The aesthetics of cruelty is shown from traditional Japanese theatre such as Kabuki and Noh, and how they relate to modern-day horror. The case study for this section is Nakata Hideo's "Ringu" and "Ringu 2."
   
   "Gender, Terror and the "Avenging Spirit" Motif in Japanese Horror Cinema" looks at Japanese Horror under Western eyes as well as Anime Horror and the Japanese interpretation of the rape/revenge genre. The case study for this section is Ishii Takashi's "Freeze Me."
   
   "National Anxieties and Cultural Fears in Japanese Horror Cinema" looks at Japanese body-horror and technophobia as seen in films such as "Tetsuo the Iron Man"
   and "Pinnochio 964." The case study for this section is Fukasaku Kinji's "Battle Royale."
   
   "Japanese Horror Cinema and the the Production and Consumption of Fear" looks at not only the selling of modern horror, but the interpretation of Japanese Horror Cinema by US internet-based fan communities. The case study for this section is Shimizu Takashi's "Ju-On: The Grudge."
   
   The book is very academic in nature, and probably not well-suited for casual fans looking to geek out on their favorite fright flicks. However, for those seeking a greater insight into the psychology of Japanese Horror Cinema, there are few better books on the market in this largely unexplored area.

3 comments about The Imagery of Chess Revisited.

1. At once an art history title and a special source of interest to chess players, THE IMAGERY OF CHESS REVISITED is an outstanding survey of the 1944-45 exhibition of the same name held in New York City, which hosted participants from famous European expatriates and American modernists alike. All contributed chess sets for the project and exhibition, and many produced other chess-related art, from paintings to photos. The IMAGERY OF CHESS REVISITED project grew out of a project to create an exact replica of Isamu Noguchi's 'lost' red and green plastic chess set designed for the original exhibition, and holds numerous previously unpublished works and images which will prove of special interest to collectors, artists and gamers alike.
   
   Diane C. Donovan
   California Bookwatch



2. "The Imagery of Chess Revisited"- edited by Larry List, is a richly illustrated work that brings to life the passion for chess shared by Marcel Duchamp, Max Ernst, his dealer Julien Levy and fellow artists including Alexander Calder, Man Ray, Isamu Noguchi and others. The book contains many new insights and recently discovered images that are indispensable to chess enthusiasts and art historians alike including glimpses of this circle of surrealists and their impact on modern design.



3. A terrific book. Well researched and well written. A must for anyone interested in the connections between chess sets and art. I highly recommend this book

5 comments about The Tarot of Prague Kit: A Tarot Deck and Book Based on the Art and Architecture of the "Magic City".

1. I was so surprised as I seen cards from this deck posted many
   many times - one person I know talked about loving hers so much
   I finally took the bait & ordered a set - what a pleasant surprise
   I totally love this set - the cards - the book is excellent
   I would highly recommend this to anyone who loves Tarot & like
   me you may just get such a pleasant surprise & totally love it
   Hats off to the Authors who did an A1 job on this set



2. I got this deck back in 2004, as I have always been so enamoured and enchanted with the magical city of Prague. I had high expectations.....could this tarot truly capture the elusive soul and heart of such a mysterious, haunted, uncanny, quaint, supernatural and fairytale city?
   
   Much to my eternal happiness this Tarot does all that and more! To get the full awe-inspiring affect, one must hold these cards in your hands, play with them, caress them and let them ensnare your imagination and soul.
   
   There is no modern anything in these cards and images. It's all very Olde World, quaint, strange and mystical. Stautes with life breathed into them by the creators, engravings that seem to come from very old tomes of magic sumptiously, vibrantly and gently coloured, wonderful quirky faces and characters of all stripes and ghouls from an old Cezch bohemian 32-card playing deck, these pop up all over the deck, at times the main focus, at others as odd little hidden curiosities it's a joy to find lurking in a corner.
   
   Each card has many layers for as much or as lttle interpertation as you want. The many varied, but all outstandingly beautiful and striking art and styles are very well put together and chosen to compliment one another and really bring each card to life and salient meaning.
   
   The book is really the absolute best companion book for a deck I've ever come across, and I have read a lot of them! It's large and well-packed with everything and then some that makes these extraordinary cards sing their wisdom. The author obviously knows her Tarot, and lets us in on her knowledge. The parts pertaining to the deck are just wonderfully eye-opening. She includes many fascinating and fantastical tidbits on the art and architecture and how it adds singular and notable meaning to each card. I've never had a book bring alive a deck and their images quite like this book. There is also added essays called "More About" and informs you on the stories and fables concerning things in a card. For example Ther Hermit stands in Golden Lane, a very narrow and mysterious, uncanny street with quite the history. Her "More about" essay tells all about the history any fables connected to it. What fun! The section on getting to know the cards and spreads are superb.
   
   For readings, this Tarot has no equal. I am continually astounded and awed by how the cards speak and sing to me with their images and wisdom. I get such in-depth insights, ideas and uncanny intuition from my time spent with the deck. Speaking of intuition if you're looking for a completely intuitive deck, look no further.
   
   The cards themselves in the 1st edition are unlike any other deck I've come across (I have a 100 in my collection). A very sumptious, luxurious heft and feel to them, semi-matte. The backs are a evovative sepia brown. They're the perfect size as well.
   
   The art, streets, history, magic, occult, alchemy, fantastic and fantastical enchantments and phantoms of the truly grand city of Prague are captured in this deck and book. You will most certainly not be disapponted.
   
   This 1st edition set is almost sold out, there are a few copies still available (as of this review date) for the normal asking price at the publisher's site. I cannot comment on the 2nd edition as I don't have it, but I do know the cardstock is different and they are larger. Also the 2nd edition does not come with a book, once the 1st edition sets are gone, that's it.



3. I gave this tarot set as a gift to a friend, and she and I have both been enjoying giving each other readings with it. The colors are very rich and it is a beautiful set overall. Even though some other reviews didn't recommend it for a first tarot deck, my friend seems to like it, and it is her first. I like seeing images from the city of Prague. Would probably mean even more to someone who has actually been there.



4. "We designed the Tarot of Prague to be a vibrant expression of the city. The images are collaged from thousands of original photographs of the streets and houses, the murals and statues, manuscripts and drawings, and even from the games that make up Prague's rich visual treasury." - From the Booklet
   
   In some ways, I'm working my way backwards when it comes to the richly produced art of baba studio. To my knowledge, I own every deck and book created by Karen Mahony and Alex Ukolov, having reviewed most of them. However, it wasn't until now that I began to work with The Tarot of Prague, baba studio's signature deck that is so beloved in the Tarot community. (In fact, this deck was recently used in an episode of the TV show Ghost Whisperer!)
   
   I don't have the Tarot of Prague kit, just the small box with the L(ittle) W(hite) B(ook), so that's what I'll be reviewing. The Tarot of Prague follows the Rider Waite Smith system, although the Majors aren't numbered, and there's an extra Majors card: Prudence. The upper left hand of the cards depict the number or letter (in the case of Aces and the Courts), with a golden Cup, Sword, Wand, or 5-pointed Star (Pentacle) in the lower right hand corner. Matte-finished cards measure approximately 5"x 3", with card backings depicting an intricate assemblage of graphite hued scrollwork, birds, candelabras, and humans representing the four elements. At first glance, the backings appear reversible, but upon closer inspection, they are not. However, if you're not looking too closely, you probably won't notice during the shuffling process.
   
   The 32-page LWB gives a brief overview of Tarot history, as well as learning and reading the cards. Also provided is a good overview of the general meanings of the numbers and Court Cards (e.g. Pages often indicate exploration, study, enthusiasm, risk-taking beginnings, news, and messages, while the number two often deals with issues of union, balance, decisions, and dealing with emotional forces.) A few spreads are shared, including the Celtic Cross and a specially created 5-card Prague "Threshold" spread. Upright keywords are given for all the cards, but the Majors are given more attention with a brief explanation. Karen gives a great overview of each of the suits/elements, including the positive and negative sides of each expression.
   
   Aesthetically speaking, The Tarot of Prague didn't appeal to me at first. In fact, I still have mixed feelings about the mish-mashed media used for the cards, especially some of the cartoon-like images paired with gorgeous photography. If it were a photo-only collaged deck, like the Tarot de Paris, I think I'd appreciate it more.
   
   Because of this initial lack of resonance, I had my doubts about how The Tarot of Prague would read for me. However, I'm happy to please that I just did a 3-card Body, Emotions, Spirit spread and it was quite clear, surprising, and accurate! I had just finished walking over a mile on the treadmill, and was feeling energetic, centered, and clear-minded. I drew the 4 of Cups, 3 of Cups, and Ace of Cups for my spread, and, admittedly, the 4 of Cups in the Body position threw me. I had expected a "fiery" card to represent the fat-burning engine that had just been stoked (LOL)--a card like The Sun or the Ace of Wands. What in the world was the card of "boredom" doing in that position?! So I went to the LWB, and to my surprise, it mentioned "withdrawal from excesses" as one of the possible meanings. How uncanny! You see, I had began a (mostly) low-fat diet back in August, and have lost over 30 pounds so far. One of the things I noticed is that food preference seems to be a habit of sorts, because I no longer craved high-fat foods; in fact, they didn't even appeal to me! So my body was, indeed, on a "withdrawal" from excess fat--in a good way!
   
   The 3 of Cups reflected the emotional "high" I had felt towards the end of my workout (hello endorphins!), as well as my desire to make it to the 2007 Readers Studio in NYC in April. In my spiritual practice, I had been (trying) to work on cultivating compassion and such, so the Ace of Cups in the Spirit position spoke several meaningful messages to me.
   
   So while I didn't immediately connect with the images of the Tarot of Prague, it is proving to be a unique, incisive, accurate deck. Incidentally, the same thing happened with baba studio's Victorian Romantic Tarot; I ABHORRED the artwork (originally) and now it is one of my favorite personal decks for my Card-a-Day readings and journaling. Honestly, there's just something special about Team Karen and Alex!
   
   If you're enamored with The Magic City, fans of baba studio, or enjoy (seamlessly) collaged decks, you'll likely enjoy The Tarot of Prague. I don't think it's the best deck for beginners (try baba studio's Baroque Bohemian Cats' Tarot or The Victorian Romantic Tarot if you're just starting out), but it's a wonderful addition for deck collectors and Tarot readers.
   
   (To see 10 images from this deck, visit the Reviews--Decks section at JanetBoyer.com)
   
   Janet Boyer, author of The Back in Time Tarot Book: Picture the Past, Experience the Cards, Understand the Present (coming Fall 2008 from Hampton Roads Publishing)



5. I was pleasantly surprised with this set. The cards have an unusual storage box, which is like a small book binding that ties with cord. Mine was also signed and numbered by artist and author.
   The only flaw I find with this tarot is the quality of the paper in the handbook. Its unique style and beauty still makes it a wonderful purchase, a real find for the collector.

1 comments about The Other Modernism: F. T. Marinetti's Futurist Fiction of Power.

1. Well researched and plotted, Blum's book suffers from what a wide deal of academically credible publications do: it is excessively polemical at the expense of its own sense of linearity and readability, and it is boring. It may also be endemic of the controversey of its subject matter; namely modernism, during a certain time period, namely, now. In short, this reads like a dissertation. It tries very difficultly to form a coherent argument that is true in all possible fields of view (thus it is self-contradictory and tautoligical, attempts to be pluralistic and yet have a rigid and definite argument.) The reason for this aproach is Blum's attempt at a reappropriation of modernism (which is becoming a very very popular academic practice, as people are getting sick of post-everything philosophy and are nostalgic for a time when being a thinking person meant something) within a pomo context. So Blum argues that Marinetti's self indulgent rants were products of a timeframe in which the only expression of empowering ideas had to come within the context of an abrasive, definitive, and agressive "fiction of power". Toss in some Lacanian psychoanalysis and feminist critique, and Blum analyzes many of Marinetti's old documents (many Pre-Futurism) with the attempt of showing their performativity and their polyavalence. It's not a bad prospect, per se, but given the dearth of new and readable texts that overview and analyze Futurism, it is somewhat unhelpful to write a book that caters only to a small group of academic art-historians already well acquainted with Futurism. If you are new to Futurism, an acquaintance with Blum's argument might not be a bad thing, and many historical facts are addressed properly, but as an introduction to the movement from a concise, linear and art-historical perspective, this is just not very helpful. It is written with the intent of impressing a very small group of people who are already arguing about this sort of thing, and even then does very little new.