One spring, a nine-year-old Cree boy is visited by a master soapstone carver named Lindy, who gives him four pieces of soapstone. The primary secret to carving, the boy learns, is recognizing that each piece of soapstone already holds its true form inside. Lindy teaches the boy to listen to the soapstone and look to the world around him for signs as to what to carve. As the seasons change, the young boy’s experiences lend him opportunities to develop his carving skills and become attuned to the signs around him. He eagerly awaits the following spring, which will bring Lindy’s return and a chance to show off his carvings. The epub edition of this title is fully accessible.

The dog shows up the way snow does on a winter's day. She just drifts in and stays, becoming the friend of a young Cree boy. The boy and the dog set out on an adventure that ends in a quandary involving quills and a big brother who swears to take revenge on the porcupine. But Lindy, a Cree elder and master carver, reminds the brothers of the importance of the great porcupine. After a day spent carving in town, the boy learns some truths about human nature and realizes that sometimes, like the porcupine, you must put your quills up to keep from getting pushed around. Soapstone Porcupine is the second book, after Soapstone Signs, narrated by a young Cree boy. The epub edition of this title is fully accessible.

In this Japanese ink painting book renowned Japanese master Shozo Sato offers his own personal teaching on the beautiful art of sumi-e painting. Sumi-e: The Art of Japanese Ink Painting provides step-by-step, photo-by-photo instructions to guide learners in the correct form, motions and techniques of Japanese sumi-e painting. Featuring gorgeous images and practical advice, it includes guided instructions for 35 different paintings. From waterfalls to bamboo, learners paint their way to understanding sumi-e--a style of painting that is characteristically Asian and has been practiced for well over 1,000 years. Although it's sometimes confused with calligraphy, as the tools used are the same, sumi-e instead tries to capture the essence of an object or scene in the fewest possible strokes. This all-in-one resource also provides a timeline of brush painting history, a glossary of terms, a guide to sources and an index--making it a tool to use and treasure, for amateurs and professionals alike. This sumi-e introduction is ideal for anyone with a love of Japanese art or the desire to learn to paint in a classic Asian style.

In this third volume deriving from the 2000-2003 excavations of the Viking town of Kaupang, a range of artefacts is presented along with a discussion of the town's inhabitants: their origins, activities, and trading connections. The main categories of artefact are metal jewellery and ornaments, gemstones, vessel glass, pottery, finds of soapstone, whetstones, and textile-production equipment. The artefacts are described and dated, and their areas of origin discussed. The volume is lavishly illustrated. An exceptional wealth and diversity of artefacts distinguishes sites such as Kaupang from all other types of site in the Viking World. Above all, they reflect the fact that a large population of some 400-600 people lived closely together in the town, engaged in a comprehensive range of production and trade. The stratigraphically distinct layers from the first half of the 9th century allow us to put precise dates to the finds, and to the buildings and evidence of activities associated with them. The finds and structural remains make it possible to identify the activities that took place within the six buildings excavated. We can distinguish between some buildings that were only temporarily in use and others that were permanently occupied. Several of the temporary buildings were used by a variety of craftsmen while those under permanent occupation were houses, and only to a secondary degree, workshops. Throughout the life of the town from c. AD 800-930, trade links with southern Scandinavia, the Baltic, and the Irish Sea would appear to have been strong. In the earliest phases of the town there was considerable trade with the Frisian regions, probably with Dorestad, but this link faded markedly in the second half of the 9th century, probably because of the abandonment of Dorestad. Within what is now Norway, Kaupang seems to have been supplied with goods from the interior of eastern Norway. Goods from around the western coasts of Norway, however, are practically invisible. Finds of personal equipment show that the inhabitants of the town were of diverse origins. Many of them were from southern and western Scandinavia, but there were also Frisians there. One house can be identified as that of a Frisian household engaged in trade. There were also Slavs in Kaupang, although it is not clear whether they were long-term residents.

From utilitarian arrowheads to beautiful stone effigy pipes to ornately-carved shell disks, the photographs and drawings in Sun Circles and Human Hands present the archaeological record of the art and native crafts of the prehistoric southeastern Indians, painstakingly compiled in the 1950s by two sisters who traveled the eastern United States interviewing archaeologists and collectors and visiting the major repositories. Although research over the last 50 years has disproven many of the early theories reported in the text—which were not the editors' theories but those of the archaeologists of the day—the excellent illustrations of objects no longer available for examination have more than validated the lasting worth of this popular book.