Art of the Orient最新文献

{"title":"Tradycyjna ceramika uzbecka i tadżycka ze zbiorów Muzeum Azji i Pacyfiku w Warszawie","authors":"Karolina Krzywicka","doi":"10.15804/aoto201212","DOIUrl":"https://doi.org/10.15804/aoto201212","url":null,"abstract":"The Asia and Pacific Museum in Warsaw holds a significant collection of traditional Uzbek and Tajik ceramics representing the main centers of its production: Khorezm, Ferghana Valley, Bukhara and Samarkand. It was amassed by an outstanding Russian ethnologist Grigoriy Derwiz and the museum’s friend, artist and collector Andrzej Strumiłło during the years 1985–1990. The collection numbering nearly 250 objects consists mainly if decorative polychrome and enamel utensils i.e. large bowls badia, pilav plates lagan, bowls kosa and small goblets kosacha. The separate part includes earthenware toys – ocarinas khushtak in the form of fantastic animals, which were created particularly in workshops of famous masters: Hamro Rahimova from Uba in Uzbekistan and Gafur Khalilov from Ura-Tiube in Tajikistan. The dominant part, polychrome and enamel ceramics can be divided into two groups depending mainly on glaze color and style. The most numerous part of the collection is the characteristic, blue and white ceramics created since hundreds of years in famous production centers in Khorezm in central Uzbekistan and in Ferghana Valley in northeastern Uzbekistan and northern Tajikistan. Ceramics from Ferghana and Khorezm are characterized by their color based on shades of blue, turquoise and cobalt on a white background. The common feature for those products are intensive and bright colors which are obtained by a potassium enamel which also gives a specific blue shade. Objects from Khorezm have an orderly composition with symmetrical and rhythmical ornaments. These are the works of an outstanding artists: R. Matchanov from Khanki village near (Uzbekistan), S. Atajanov from Khiva (Uzbekistan) and Y. Sapayev from Kunya Urgench (Turkmenistan). The group of objects with varied ornaments and colors originates from several production centers in Ferghana Valley. They were created among others by Sohibov brothers from Chorku (Tajikistan), Y. Meliyev and B. Mavlanov from Kalibadam (Tajikistan), M. Rahimov from Gurumsay (Uzbekistan) and I. Kamilov from Rishtan (Uzbekistan). The other part of the collection is rather modest and consists of brown, green and yellowish ceramics, which has engraved decoration made of graphite originating from regions of Samarkand, Bukhara and Tashkent. That group is dominated by massive lagan plates from the workshops of Z. Muzafarow from Shahrisabz (Uzbekistan), M. Ablakulov from Urgut (Uzbekistan) and B. Khalilov from Denan (Uzbekistan).","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"24 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":"133022634","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}

{"title":"Problems Regarding the Re-mounting and Restoration of Chinese Hanging Scrolls – Local Traditions versus Globalisation","authors":"Weronika Liszewska","doi":"10.15804/aoto201505","DOIUrl":"https://doi.org/10.15804/aoto201505","url":null,"abstract":"ur times highlight the need for determining wchich values concerning heritage protection would be appropriate for different cultures. International documents of great importance, like the Nara Document of Authenticity (1994),1) UNESCO Universal Declaration on Cultural Diversity (2001)2) and the Convention for the Safeguarding of the Intangible Cultural Heritage (2003),3) all drew attention to the importance of maintaining the local traditions and local attitude to the issues of safeguarding and conservation, including cultural differences in the perception of authenticity. The end of the twentieth century saw an increase in understanding of the problems related to the protection of the cultural wealth of humanity, as well as a general appreciation of the importance of the role of world heritage conservation, in its immense complexity. However, on the other hand the tendencies of globalisation within the area of heritage protection could be observed in terms of the unification of techniques, materials and aesthetics. The problems connected with the remounting and restoration of Chinese hanging scrolls are a perfect example, in which local tradition clashes with global standards of heritage safeguarding.4)","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"1 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":"130560340","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}

{"title":"The Origins of Collecting in China. Underground Jade Treasures as a Reflection of Ancient Collecting.","authors":"Bogna Łakomska","doi":"10.15804/aoto201202","DOIUrl":"https://doi.org/10.15804/aoto201202","url":null,"abstract":"Artykuł dotyka kwestii początków kolekcjonerstwa w Chinach, choć nie chodzi tu o kolekcje mające charakter artystyczny. Współczesne kolekcjonerstwo zakłada, że przedmioty tworzące kolekcję powinny być pozbawione swojej użytkowej roli, powinny być wewnętrznie powiązane, sklasyfikowane, subiektywnie ocenione, świadomie wybrane i wystawione. Ktoś mógłby zatem zapytać, jak ma się to do starożytnego chińskiego kolekcjonerstwa? I czy można stosować te same kryteria, a następnie na ich podstawie dokonywać oceny. Otóż, z pewnością znajdziemy pewne wspólne cechy we współczesnym jak i starożytnym podejściu do kolekcjonowania, a będzie to chęć posiadania czegoś ważnego, budowanie grup opartych na wewnętrznie powiązanych i świadomie wybranych obiektach jak również chęć wyeksponowania tych przedmiotów, tym niemniej dla ograniczonej i ekskluzywnej grupy, i to niekoniecznie osób, ale bardziej duchów, czy też innych nieśmiertelnych bytów. W starożytnych Chinach kolekcjonowanie było powiązane zwłaszcza z aktywnością rytualną, która wynikała z religijnych wierzeń, a w szczególnych wypadkach z przyczyn politycznych, bowiem posiadanie uświęconych obiektów zapewniało Mandat Niebios, czyli możliwość roszczeń do władzy. Zatem trzeba wyraźnie powiedzieć, że nie sztuka, ale święte skarby, tudzież magiczne przedmioty o rytualnym znaczeniu odgrywały najbardziej istotną rolę w potrzebach akumulacyjnych starożytnych królestw Chin. Co więcej, w konkretnych przypadkach, to surowy sam w sobie materiał i magiczne właściwości, które mu przypisywano sprawiały, że obiekty stawały się pożądane. Z początku, w okresie Neolitu dotyczyło to głównie przedmiotów wykonanych z twardych krystalicznych skał nefrytowych i jadeitowych ogólnie określanych jako żady, które dziś można jeszcze wydobywać w prowincji Xinjiang albo w Tybecie. później przyszła również kolej na brązy. A najbardziej namacalnym dowodem tych kolekcjonerskich początków są obiekty odkryte w grobach i podziemnych skrytkach. Archeologowie natrafiają na niewielkie zbiory figurek o kształtach smoko-świni, chmur, rzadziej żółwi i ptaków pochodzące z ok. 6 tysięcy lat temu. Nieco później zaczęto gromadzić tajemnicze dyski bi, albo wydrążone sześciany zwane cong. Około 5 tysięcy lat temu wiara w magiczną siłę żadów zaczęła się niezwykle rozprzestrzeniać, a to za sprawą rosnącego statusu szamanów, będących religijnymi i nierzadko politycznymi przywódcami królestw. Posiadanie żadów okazało się być przywilejem a ograniczona możliwość ich nabycia podwyższała niezwykle ich wartość. Żady zaczęto postrzegać nie tylko jako obiekt magiczny, ale również jako symbol bogactwa i władzy. I co ciekawe istotną rolę odgrywały te żady, które miały niejako swoją historię, które należały do przodków, albo do innych podbitych ludów.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"31 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":"133219050","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}

{"title":"Paper Sea Route: The influence of Chinese culture on the formation of elements of Mexican folk art accompanying various celebrations.","authors":"Erika Krzyczkowska-Roman","doi":"10.15804/aoto201307","DOIUrl":"https://doi.org/10.15804/aoto201307","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"30 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":"123420083","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}

{"title":"Nomad and shaman, flags and terremonto. Arahmaiani Feisal’s artistic practice from the perspective of Joseph Beuys’ “social sculpture”","authors":"Anna Dzierżyc-Horniak","doi":"10.15804/aoto202210","DOIUrl":"https://doi.org/10.15804/aoto202210","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"16 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":"127375228","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}

{"title":"North Korean Propaganda Arts","authors":"Borah Kang","doi":"10.15804/aoto201509","DOIUrl":"https://doi.org/10.15804/aoto201509","url":null,"abstract":"People are willing to purchase and consume cultural artefacts as well as commodities. In accordance with economic principles, consumers purchase the cultural items not only for the value of item, but also for the implied meaning of items although it is invisible. Cultural artefacts are diverse, however they stimulate the imagination of consumers. People purchase the cultural items for the satisfaction of collecting artefacts that demonstrate the authenticity of cultures. According to the fabulous essay of James Clifford,1) culture, or cultural art, is described as something that can be possessed and collected by individuals, thus the centres surrounding culture can presumably be the public and transcendental traditions, which correspond with valuable commodities. Whilst analysing the system using both structural and historical techniques, Clifford refers to the formation of Western subjectivity as the essential debate. Either religious or functional objects from secluded cultures have been reconstructed as owned and contemplated art or even exotic home cultures. Therefore, the system that moves cultural art to the realms of extraordinary art enables many diverse groups to use their own cultures and artistic items as consumable and tradable commodities to their financial benefit.2) Presumably, cultures are ethnographic collections.3) In addition to that vague meaning of culture, Edward Tylor describes cultures as the complex whole, consisting not only of morphological distinctions, but also the epistemological components that can transcend the boundaries of origin. Moreover, because","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"23 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":"130005664","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}

{"title":"Dragons, gods, demons – ojime – symbolic content hidden in miniature form","authors":"Marta Michalska-Kurczynska","doi":"10.15804/aoto201306","DOIUrl":"https://doi.org/10.15804/aoto201306","url":null,"abstract":"nowadays through acquaintance with literature, beliefs, myths and leg­ ends. Thanks to this knowledge, a piece of art can be perceived not only with regards to its external form, but also to its content. This presentation aims to disclose some external features with a primary focus on the iconographic analysis of miniature art subjects the collection of forty four 19th century Japanese ojime. Ojime is a bead an ornamental element also used practically on a personal lacquered box (inro) and its accompanying netsuke.15 The set of ojime under discussion here is a private collection which remains one of the largest in Poland. This Ojime collection once belonged to professor Jozef Rancewicz, a dental surgeon from Warsaw,* 25 and was made available to me for my research thanks to doctor Zofia Rancewicz.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"12 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":"117043082","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}

{"title":"Amulets and talismans of the Central Sahara – Tuareg art in context of magical and mystical beliefs","authors":"Hanna Sotkiewicz","doi":"10.15804/aoto201414","DOIUrl":"https://doi.org/10.15804/aoto201414","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"27 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":"121527956","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}

{"title":"Newar architecture. The typology of the Malla period monuments of the Kathmandu Valley","authors":"Barbara Gmińska-Nowak","doi":"10.15804/aoto201401","DOIUrl":"https://doi.org/10.15804/aoto201401","url":null,"abstract":"epal is a country with an old culture steeped in deeply ingrained tradition. Political, trade and dynastic relations with both neighbours – India and Tibet, have been intense for hundreds of years. The most important of the smaller states existing in the current territorial borders of Nepal is that of the Kathmandu Valley. This valley has been one of the most important points on the main trade route between India and Tibet. Until the late 18t century, the wealth of the Kathmandu Valley reflected in the golden roofs of numerous temples and the monastic structures adorned by artistic bronze and stone sculptures, woodcarving and paintings was mainly gained from commerce. Being the point of intersection of significant trans-Himalaya trade routes, the Kathmandu Valley was a centre for cultural exchange and a place often frequented by Hindu and Buddhist teachers, scientists, poets, architects and sculptors.1) The Kathmandu Valley with its main cities of Kathmandu, Patan and Bhaktapur is situated in the northeast of Nepal at an average height of 1350 metres above sea level. Today it is still the administrative, cultural and historical centre of Nepal. South of the valley lies a mountain range of moderate height whereas the lofty peaks of the Himalayas are visible in the North.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"11 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":"124254433","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}

{"title":"Rabindranatah Tagore – poeta czy malarz?","authors":"E. Walter","doi":"10.15804/aoto201208","DOIUrl":"https://doi.org/10.15804/aoto201208","url":null,"abstract":"Rabindranath Tagore (1861–1941), a poet, writer, novelist, playwright, composer, philosopher and educator, was the first Asian individual to win the Nobel Prize for literature in 1913 for his book Gitanjali. Although he did not receive any formal training in art, at a late stage of his life, when he was over sixty years old, he took up painting. He started by doodling on the pages of his poetry manuscripts. He left over two thousand paintings and drawing, deeply rooted in fantasy. He did not seem to follow a particular style or school of painting, neither eastern nor western. Tagore’s paintings are unique and his contribution to the art of India remains very important till today.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"129 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":"115256637","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}