Art of the Orient最新文献_第6页

Chinese Painting from the May Fourth Movement to the First National Art Exhibition (1919 – 1929) 从五四运动到第一届全国美展的中国画(1919 - 1929)

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201508

Anna Izabela Król

引用次数: 0

Polish artist at the service of Maharajas 为王公服务的波兰艺术家

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201407

Agnieszka J. Kasprzak

引用次数: 1

Glimpses into the history, design and construction of St. Andrew’s Kirk, Madras 一瞥马德拉斯圣安德鲁教堂的历史、设计和建造

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto202207

Roshini Roy Festus

引用次数: 0

Shini-e, japońska forma upamiętnienia wybitnych artystów

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201205

Katarzyna Paczuska

{"title":"Shini-e, japońska forma upamiętnienia wybitnych artystów","authors":"Katarzyna Paczuska","doi":"10.15804/aoto201205","DOIUrl":"https://doi.org/10.15804/aoto201205","url":null,"abstract":"The Regional Museum of Toruń has in its Far East Collection a woodblock print – a portrait of kabuki actor Matsumoto Kōshirō V by Utagawa Kunisada. This print falls into the shini-e (“death print”) category, commemorating the death of an actor, artist, or musician. The vast majority of shini-e depicted actors. Typical shini-e portrayed memorialized persons in blue court robes called shini sōzoku (“death dresses”) or ceremonial attire called mizu kamishimo. Many of these prints included the dates of death, age, posthumous Buddhist name (kaimyō), and temple burial site, while some had death poems (jisei) by the deceased or memorial poems written by family, friends, colleagues, or fans. A term used at least by the 1850s. The first datable single-sheet shini-e were probably issued in the 1790s, although ehon (“picture books”) commemorating the deaths of celebrated actors appeared as early as 1709, and more regularly by the 1770s. The shini-e genre appears to have nearly disappeared by the beginning of the 20th century and with the rise of other media such as photography and lithography, shini-e were no longer viable options for memorializing actors and artists. Only a small handful of examples are known from the 1910s–1920s. Matsumoto Kōshirō V was the one of many kabuki actors, who were display on shini-e. Besides actors, the ukiyo-e artist where also portrayed on commemorate prints.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121837013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Presentation of Hayle Sillasie in photographs from imperial era Ethiopian books

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201415

Hanna Rubinkowska-Anioł

{"title":"Presentation of Hayle Sillasie in photographs from imperial era Ethiopian books","authors":"Hanna Rubinkowska-Anioł","doi":"10.15804/aoto201415","DOIUrl":"https://doi.org/10.15804/aoto201415","url":null,"abstract":"he aim of this article is to show how the presentation of the Emperor in photographs published in books during the imperial era conveyed a message of power. In the article the use of traditional symbols from Ethiopian paintings as well as new influences will be taken into consideration. Publishing in Ethiopia was one means of spreading education and introducing modernity – two aims perceived by Hayle Sillasie to be among the most important tasks of the state. The Emperor was also aware of the opportunities provided by the printed word and by pictures for conveying a message of power. Apart from written texts, every single detail of the books published in Ethiopia under Hayle Sillasie’s rule was thoroughly and precisely designed and served a specific purpose. The appearance of the books, the way of conveying bibliographical information within a book, the design of the title pages and so on, were employed to convey a specific message, one which emphasised Hayle Sillasie’s right to rule the country, his power and his political program.1) In this respect, a special role was played by photography, and especially by the portraits of His Majesty himself and other members of the royal family. Such portraits were published within the editorial pages of most Ethiopian books. In this article, analysis will be limited to the information concerning power conveyed by the images of Hayle Sillasie I in the opening pages of Ethiopian books.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124120252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Mandarin squares as a form of rank badge and decoration of Chinese robes 作为军衔徽章和中国长袍装饰的一种方阵

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201404

Katarzyna Zapolska

引用次数: 0

O roli krisów w kulturze Indonezji i teoriach dotyczących ich powstania

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201211

Krzysztof Morawski

{"title":"O roli krisów w kulturze Indonezji i teoriach dotyczących ich powstania","authors":"Krzysztof Morawski","doi":"10.15804/aoto201211","DOIUrl":"https://doi.org/10.15804/aoto201211","url":null,"abstract":"As the dagger kris is bound with many beliefs, myths, rituals and customs that are typical of Nusantara (Indonesia, Malaysia and the Philippines), it belongs to the symbols of the region. The kris is present on the majority of bigger islands of the Malay Archipelago and has many regional versions. It has a double-edged blade, straight or wavy, and dissymmetrical in the upper part. On both flats of the blade there is a bright, decorative pattern called the pamor (it contains some nickel), which is produced in a process similar to damascening. The hilt is figural or geometrical or sometimes of plant form and is often decorated with a relief. The hilts and sheaths are made of lacquered wood, and now and then of other materials (e.g. ivory or bone). Additionally, there are covers and rings of precious metals or alloys that are often set with precious stones or glass. It was believed that magical forces (ascribed to the kris) are sealed within in it during the ceremony of consecration by the smith empu. Also, the process of making the kris is treated as a sacred act. Believing in the magical powers of the kris originates from animism, i.e. from the epoch former to the Indic influence (from about the 4th century AD), which brought Buddhism and Hinduism to Indonesia. Elements of the animistic belief has remained there despite the coming of Islam to Java by the 16th century. The kris used to be transferred from father to son and it has belonged to the pusaka (Javanese: “heritage”) along with other weaponry, instruments of the traditional orchestra gamelan (gongs included), jewelry, textiles, old sculptures and porcelain. Apart from its role as a weapon (this role disappeared first), the kris has been a symbol of social status, an element of a man’s ceremonial costume, a talisman, and a ritual subject. It has existed in its fully developed form at least since the 14th century, and in the 2nd half of that century it spread to nearly all the Malaya Archipelago. It was supposed that the kris came from Java, or - according to other versions - China, Southeast Asia or India. There were theories that it had developed from a ray’s sting or from a spearhead. Nowadays one accepts the G.C. Woolley theory from 1947 that the kris traces its origin back to the small kris-talisman called sajen or Majapahit kris. Next, according to the new theory by A. Maisey (from the 1990ies), it was a big war-kris called buda that gave rise to the contemporary kris. Nevertheless, there is an idea that the kris may have originated as a fusion of both types, because it unites their features within itself.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"138 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123453083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Gyanyin goddess: two bronze figures – two different stories 观音女神:两个铜像——两个不同的故事

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201402

E. Kajdański

{"title":"Gyanyin goddess: two bronze figures – two different stories","authors":"E. Kajdański","doi":"10.15804/aoto201402","DOIUrl":"https://doi.org/10.15804/aoto201402","url":null,"abstract":"he first of these stories is connected with the name of Kazimierz Grochowski (1873 – 1937), the forgotten Polish geologist, archeologist, traveller and writer, to whom I owe my long-standing interest in the history of East Asia. He was a director of the Polish Gymnasium in Harbin (North-East China, Manchuria at that time) where I was born and where I received my secondary and high-school education. Grochowski also used to teach us the history and geography of the Far East and was a patron of our Polish Oriental Circle (Polskie Koło Wschodoznawcze), which he established in the frame of his educational work. I would like to recall a short outline of his biography. As a student in Lwow, he took part in anti-Russian activities and under the threat of arrest was forced to escape to Cracow (then under the Austrian annexation) and finally moved to Leoben and Freiberg where he received his higher education and a title of mining engineer. He came to Vladivostok in 1906 and started his professional career in the Trans-Ussurian Territory (Ussurijskij Kraj) and on Sakhalin Island. As a gold prospector in an international enterprise – The Upper Amur Gold Mining Co., he made four great expeditions in 1910 – 1914 across the little known regions of East Siberia (which belonged to China before 1860)1). Grochowski took part in numerous geological and archeological expeditions in Mongolia (1914 – 1916), in Uriankhai (present day Tuva, 1917 – 1918) and in the North-East China (1920 – 1934). After the Bolshevik revolution in Russia, he settled in Harbin and in the following years undertook a series of geological and archeological expeditions to the most remote regions of Manchuria. He died in Harbin in 1937 after a two year sojourn in Poland.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127385970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Functions of spolia in Umayyad architecture 雨淋在倭马亚建筑中的作用

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto201301

A. Lic

引用次数: 0

Revising the tiger.The case of the instrument of Tipu Sultan in the Victoria and Albert Museum and the discussion on contested heritage 修改老虎。维多利亚和阿尔伯特博物馆Tipu Sultan乐器的案例和对有争议遗产的讨论

Art of the Orient Pub Date : 1900-01-01 DOI: 10.15804/aoto202208

Magdalena Guziejko

引用次数: 0