The art of silversmithing in South-East Asia is part of a tradition dating back over 3000 years, and has been exposed to Indian, Chinese, Muslim, and European influences. In this illustrated introductory volume, the author outlines the history of silverware in South-East Asia and discusses the local tradition in each of the countries in the region, highlighting the unique features of the various communities.

Southeast Asia ranks among the most significant regions in the world for tracing the prehistory of human endeavor over a period in excess of two million years. It lies in the direct path of successive migrations from the African homeland that saw settlement by hominin populations such as Homo erectus and Homo floresiensis. The first Anatomically Modern Humans, following a coastal route, reached the region at least 60,000 years ago to establish a hunter gatherer tradition that survives to this day in remote forests. From about 2000 BC, human settlement of Southeast Asia was deeply affected by successive innovations that took place to the north and west, such as rice and millet farming. A millennium later, knowledge of bronze casting penetrated along the same pathways. Copper mines were identified and exploited, and metals were exchanged over hundreds of kilometers. In the Mekong Delta and elsewhere, these developments led to early states of the region, which benefitted from an agricultural revolution involving permanent ploughed rice fields. These developments illuminate how the great early kingdoms of Angkor, Champa, and Funan came to be, a vital stage in understanding the roots of the present nation states of Southeast Asia. Assembling the most current research across a variety of disciplines--from anthropology and archaeology to history, art history, and linguistics--The Oxford Handbook of Early Southeast Asia will present an invaluable resource to experienced researchers and those approaching the topic for the first time.

A critical reassessment of latah, the Malayan hyperstartle pattern, and 'culture-bound syndrome'.

Southeast Asian jewelry is eagerly sought by collectors around the globe. Once prized largely for its ethnographic interest, today it is recognized as a high art form. In a tour de force of original research and synthesis, involving years of study and extensive travel throughout the region, Anne Richter gives us the first comprehensive account of a jewelry tradition that stretches across millennia from the vigor of Neolithic and Bronze Age art to the present day.Magnificent gold jewelry of classical Cambodia and Java, a man's ruby-eyed dragon ring from Thailand, silver work of the Vietnamese court, filigree bridal necklaces of Sumatra, jeweled belt buckles and tobacco boxes of Malaysia, royal gold sashes of the pre-Hispanic Philippines, adornment for remote hill peoples -- the more than 300 pieces seen here, many previously unpublished, reveal a jewelry notable for its beauty and rich significance. The analyses of the symbolism shed new light on Asian cultures, while the aesthetic appeal of the items makes this volume irresistible for all jewelry lovers.

This volume challenges existing notions of what is “Indian,” “Southeast Asian,” and/or “South Asian” art to help educators present a more contextualized understanding of art in a globalized world. In doing so, it (re)examines how South or Southeast Asian art is being made, exhibited, circulated and experienced in new ways in the United States or in regions under its cultural hegemony. The essays presented in this book examine both historical and contemporary transformations or lived experiences of monuments and regional styles (sites) from South or Southeast Asian art in art making, subsequent usage, and exhibition-making under the rubric of “Indian,” “South Asian,” “or “Southeast Asian” Art.