{"title":"A cane and a Kaʿba model","authors":"G. Kale","doi":"10.1086/715444","DOIUrl":"https://doi.org/10.1086/715444","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"29 - 44"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46305907","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":"Books received October 2020–September 2021","authors":"C. Cappelletto","doi":"10.1086/718359","DOIUrl":"https://doi.org/10.1086/718359","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"329 - 330"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48617508","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":"“Like wax before a fire”","authors":"Gavin Wiens","doi":"10.1086/713376","DOIUrl":"https://doi.org/10.1086/713376","url":null,"abstract":"doctoral fellowship from Council of Canada and b the History of Art at John that eventually develope at the spring meeting of held at Johns Hopkins Un Graduate Symposium he April 9, 2016. I would lik Felipe Pereda; the anony copyeditor of Res for thei 1. The primary fifteen this essay are Barnabò da Senensi coævo; Ex Ms. F Sanctorum: The Full Text Dies 20, 277–84; and Joh ord. seraphici minorum v Seraphici Minorum, oper xxxiv–xliii. Maffeo Vegio under Eugene IV, also pr Vegio, “Vita II Antiquior, oculato teste; Ex Ms. Val Romæ,” in Acta Sanctoru of Bernardino’s life may in Histoire des saints et d 1986–88), 7:74–83. 2. It was, in fact, a c earlier date: “locatus in in cella mihi concessa.” J 3. “liquefiebat nihilo Capistrano, “S. Bernardi","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"168 - 182"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47516921","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":"Written on a Bodhi tree leaf","authors":"Michele Matteini","doi":"10.1086/715926","DOIUrl":"https://doi.org/10.1086/715926","url":null,"abstract":"Paintings and calligraphies on dried leaves of the Bodhi tree (Ficus religiosa) are a common tourist souvenir available for little money at shrines and temples across the Buddhist world (fig. 1). Painted scenes usually depict a single deity, most frequently the meditating Buddha or the ancient sages known as arhat, in thick layers of mineral pigment applied on the brittle surface of the leaf. They often survive in albums where they illustrate transcriptions of sutras in gold ink on blue paper or black ink on silk. Miniature transcriptions of scriptures are likewise written with a hard-tipped brush over the untreated, rugged leaf. The ink is sometimes mixed with glue to increase viscosity, a step required when writing on a nonabsorbent surface. For the most part, they replicate the Heart Sutra, the summa of Mah̄aȳana wisdom in a little over two hundred characters. The dried Bodhi tree leaf is not simply a support; it is as significant as the text or the image it carries (fig. 2). The painted image or the inscribed text exists in dynamic interaction with the properties and features of the material on which it appears: the leaf’s characteristic inverted-heart shape defines the composition, with figures or motifs bending or leaning to echo the leaf’s sinuous silhouette. In calligraphic transcriptions, the desiccation process brings out the leaf’s surface pattern of stems and veins, to which the inscriber responds with the choice of calligraphic script and text layout. If the act of painting conceals surface to emphasize shape, the act of inscribing activates surface, merging figure with ground, as if the text were","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"45 - 58"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45602474","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":"Icons made of relics","authors":"A. Lidov","doi":"10.1086/716618","DOIUrl":"https://doi.org/10.1086/716618","url":null,"abstract":"","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"91 - 100"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42304896","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 thing itself","authors":"Subhashini Kaligotla","doi":"10.1086/715526","DOIUrl":"https://doi.org/10.1086/715526","url":null,"abstract":"Images of architecture ripple on the surfaces of early Indian temples and stupas. These temples on temples and stupas on stupas create the movement, texture, and vibrancy for which Indian architecture is known.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"75-76 1","pages":"59 - 73"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45617799","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":"Delacroix’s parade","authors":"Ralph Ubl","doi":"10.1086/709461","DOIUrl":"https://doi.org/10.1086/709461","url":null,"abstract":"David Misteli, and Wolf Christopher Wood. Than manuscript and to Antho 1. On parades and t see the overview by R. T of Paradoxes,” in Seurat On the genesis of the au Imaginary Museum of M Music (Oxford, 1992). O on a Semiotic Approach of Time: Essays on the F 1987), 220–28. In contra a rich scholarship conce theater; see J. Scherer, T 1975); D. Trott, “De l’im parcours de la parade en le théâtre forain et les sp siècles), ed. I. Mamczarz Le théâtre de société: Un Ruimi, La parade de soc oubliée (Paris, 2015). 2. See N. M. Athana Politics and Satire, 1814 Delacroix’s parade","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"155 - 169"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709461","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41958060","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":"Art and aliveness on the Northwest Coast","authors":"Matthew Spellberg","doi":"10.1086/709278","DOIUrl":"https://doi.org/10.1086/709278","url":null,"abstract":"In the Native art of the Northwest Coast, figures are everywhere, and figures are very nearly everything. The artistic works from this great region of cultural ferment are engulfed by aliveness. Beings stack and swallow the entirety of a cedar house-pole, or spread decorously across a Chilkat blanket, or combine in chimerical merging wholes and halves on every side of a dancing rattle, or proliferate like vegetation up and down an argillite pipe. Even when a figure is found by itself, it tends to become what it surrounds; it dilates and disassembles until its body parts cover every contour of the bowl or hat on which it lives. The figure is on the object, but the object is fully in the figure. From one point of view, the observation that this is an art of figures, and especially animal figures, may appear banal. The representational art of the Northwest was traditionally the province of men, and men were hunters. They were surrounded by animals, whom they studied, emulated, depended upon, competed with, made offerings to, and killed. These animals (ravens, bears, eagles, dogfish, salmon, killer whales, and also supernatural beings like the sea-wolf and sea-grizzly, or zoomorphic incarnations of the rainbow or moon) were the protagonists of their myths, and the crests in their all-important heraldic system. They made an art, like the art of many hunting peoples, in which these animals took center stage, sometimes interacting with humans, sometimes shifting in and out of a quasi-human form. And yet, though it’s easy enough to say in broad strokes why animal figures dominate this artistic tradition, it’s very difficult to say why they do it in exactly the way they do. How figuration functions in Northwest Coast art is the question at the heart of its charisma, and of its literal mysteriousness. This is an artistic tradition where individual beings are so elaborated and expanded that they often become impossible to identify. In becoming everything, they become no one thing.","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"203 - 220"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709278","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46679145","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":"Jackson Pollock’s Mural in the light of photography","authors":"W. Davis","doi":"10.1086/710961","DOIUrl":"https://doi.org/10.1086/710961","url":null,"abstract":"3. P. Guggenheim, Out of This Century: Confessions of an Art Addict (New York, 1979), 295 (the initial version of her autobiography was published in 1946). For Pollock’s height, see H. A. Harrison, “Inhabiting Pollock,” in Such Desperate Joy: Imagining Jackson Pollock, ed. H. A. Harrison (New York, 2000), 4, correcting some of his friends’ descriptions of the artist as imposingly tall. 4. For factual information about the townhouse and the installation of Mural, I follow F. V. O’Connor, “Jackson Pollock’s Mural for Peggy Guggenheim: Its Legend, Documentation, and Redefinition of Wall Guggenheim’s commission, Pollock’s painting, and Karger’s photograph","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"256 - 275"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/710961","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45594245","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 hierarchy of genres and the hierarchy of life-forms","authors":"Emmelyn Butterfield-Rosen","doi":"10.1086/711228","DOIUrl":"https://doi.org/10.1086/711228","url":null,"abstract":"to Hollis Clayson, Brigid in the initial phases of re European Paintings at th Shalem offered lovely fo Bryan-Wilson and Mel C sharing ideas that brough Alperin, Cole Gruber, An Sanchez, as well as Mar Wearing for critical feed inspiration and stimulati this essay is dedicated to 1. A. Félibien, Confé sculpture, pendant l’ann 2. R. Cohen, “Histor (1986): 203; M. Barasch in Imago Hominis: Studie The hierarchy of genres and the hierarchy of life-forms","PeriodicalId":39613,"journal":{"name":"Res: Anthropology and Aesthetics","volume":"73-74 1","pages":"76 - 93"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/711228","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41684904","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}
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