ARCHIVES OF ASIAN ART最新文献_第4页

The Curious Case of the Octagonal Temple 八角庙奇案

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2020-10-01 DOI: 10.1215/00666637-8620366

Fiona Buckee

{"title":"The Curious Case of the Octagonal Temple","authors":"Fiona Buckee","doi":"10.1215/00666637-8620366","DOIUrl":"https://doi.org/10.1215/00666637-8620366","url":null,"abstract":"\u0000 The Muṇḍeśvarī temple near Bhabuā in southwest Bihar is an octagonal, sandstone monument without a spire. Scholars have dated the temple to the first half of the seventh century, primarily on account of early inscriptions from the site and the style of the door frames. Few monuments survive from this nascent stage of structural North Indian temple architecture, and the Muṇḍeśvarī temple is intriguing because it is an anomaly in terms of its size, composition, and the shape of its plan.\u0000 This study argues that the Muṇḍeśvarī temple has been misdated, and presents a systematic architectural analysis that highlights multiple features and irregularities that are incompatible with early North Indian design. The paper proposes that, rather than being seventh century, the octagonal shrine was built about a millennia later, in the sixteenth–seventeenth century, incorporating doorways and moldings salvaged from the ruins of the seventh century temples that once graced the hilltop. The latter part of the article considers how the Muṇḍeśvarī temple came to be buried by the end of the eighteenth century, and questions whether the Archaeological Survey of India might have altered the temple's appearance during the reconstructive work they undertook at the start of the twentieth century.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"70 1","pages":"173-197"},"PeriodicalIF":0.5,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44930771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

The Flight of the Dragon 龙的飞行

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2020-04-01 DOI: 10.1215/00666637-8124979

S. McCausland

{"title":"The Flight of the Dragon","authors":"S. McCausland","doi":"10.1215/00666637-8124979","DOIUrl":"https://doi.org/10.1215/00666637-8124979","url":null,"abstract":"After his expulsion from the Forbidden City in 1924, China’s ‘last emperor’, Henry Puyi 溥儀 (1906-1967), settled in Tianjin where he later presented parting gifts to his former English tutor, Reginald F. Johnston 莊士敦 (1874-1938), including an album by the Nanjing painter Chen Shu 陳舒 (active c. 1649-c. 1687) from the ex-Qing (1644-1911) imperial collection and an inscribed folding fan. These are now reunited in the library collection of SOAS University of London, where Johnston taught Chinese after his return to Britain in 1931. Together with Puyi’s preface transcribed by courtier-calligrapher Zheng Xiaoxu 鄭孝胥 (1860-1938) for Johnston’s memoire, Twilight in the Forbidden City (1934), these artworks pave the way for an investigation of the practice of connoisseurship at Puyi’s court-in-exile in China’s era of modernism, including Puyi’s use of the imperial collection and his selection of these gifts even while he also shaping to become Japan’s puppet-emperor in Manchuria (r. 1934-45). The study roams beyond the well-known network of Puyi and his court advisors among the yilao 遺老 (Qing ‘old guard’) to uncover an unexpected modernist connection with the progressive young artist, publisher and taste-maker Zheng Wuchang 鄭午昌 (1894-1952), a leading actor in the reform of guohua 國畫 ink painting. The study rediscovers how Zheng Wuchang contributed the painting to an inscribed handscroll, Flight of the Dragon (or, A Storm and a Marvel 風益圖), McCausland, ‘The Flight of the Dragon’ 2 which commemorated, for the court inner circle, Puyi’s dramatic escape from the Forbidden City amid the realities of a modern, Republican world.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"70 1","pages":"51-83"},"PeriodicalIF":0.5,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43254580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

One Painting, Two Emperors, and Their Cultural Agendas: Reinterpreting the Qingming Shanghe Painting of 1737 一画两帝及其文化议程——对1737年清明上河图的再解读

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2020-04-01 DOI: 10.1215/00666637-8124988

Cheng-Hua Wang

{"title":"One Painting, Two Emperors, and Their Cultural Agendas: Reinterpreting the Qingming Shanghe Painting of 1737","authors":"Cheng-Hua Wang","doi":"10.1215/00666637-8124988","DOIUrl":"https://doi.org/10.1215/00666637-8124988","url":null,"abstract":"abstract:This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor’s reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father’s artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored themes. The article is divided into four sections. In the first, it brings attention to the salient and crucial but long neglected stylistic features of the painting— those that emphasize theatricality and spectatorship. These interconnected features link and characterize the paintings commissioned by Yongzheng. The second section shifts to discuss the emerging cultural agenda of Yongzheng as seen through the manner in which court art references the Chinese painting tradition. The most remarkable act regards the reinterpretation of old painting themes that include Qingming shanghe and Baijun tu (One Hundred Horses). The third section analyzes how the paratextual elements of Qingming shanghe, especially Qianlong’s poem and inscription, inform us of the emperor’s views about the production mechanism of court painting and the political meaning of this work. The last section, based on Qianlong’s understanding of the painting, highlights the emperor’s cultural agenda associated with the idea of yuanben, which pointed to new versions of old themes made by his painting academy.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"70 1","pages":"117 - 85"},"PeriodicalIF":0.5,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47184124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Outline, Brushwork, and the Epigraphic Aesthetic in Huang Yi’s Engraved Texts of the Lesser Penglai Pavilion (1800) 黄易《小蓬莱阁刻本》（1800）的轮廓、笔法与金石美学

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2020-04-01 DOI: 10.1215/00666637-8124970

Michael J. Hatch

{"title":"Outline, Brushwork, and the Epigraphic Aesthetic in Huang Yi’s Engraved Texts of the Lesser Penglai Pavilion (1800)","authors":"Michael J. Hatch","doi":"10.1215/00666637-8124970","DOIUrl":"https://doi.org/10.1215/00666637-8124970","url":null,"abstract":"abstract:In 1800 Huang Yi published Engraved Texts of the Lesser Penglai Pavilion, reproducing his collection of antique rubbings as well as the later inscriptions added to them by scholars. The original rubbings were made from ancient inscribed stone monuments, and the book’s immediate audience was the aficionados of such objects, scholars of epigraphy and evidential research. A technique that exactly conveyed the material condition of those aged rubbings was important to these scholars. Huang Yi chose the outline method called shuanggou, which traced the broken boundaries between figure and ground. This old method for copying calligraphy usually involved two stages—outlining and filling in—so that the final product reproduced a simulacrum of the original calligraphy. Huang Yi left his reproductions at the outline stage, however, which resulted in strange, warped, and broken figures that merged figure and ground, calling attention to the illegibility of many of the characters reproduced in the rubbings and evacuating the calligraphy of brushwork. This essay analyzes the figures of Engraved Texts within the context of a broader epigraphic aesthetic that permeated calligraphy and painting circa 1800. It goes on to suggest that Huang Yi’s choice of shuanggou outlines, while firmly rooted in an epigraphic obsession with the material past, also marked the horizon of a changing attitude toward brushwork, and had more in common with modern methods of visualizing the world, such as the drafting techniques later implemented in engineering schools during the modernizing reforms of the late nineteenth century.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"70 1","pages":"23 - 49"},"PeriodicalIF":0.5,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46269443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Cosmopolitanism and Imagination in Nayaka South India 南印度Nayaka的世界主义与想象

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2020-04-01 DOI: 10.1215/00666637-8124961

J. Gommans

引用次数: 24

Art | Adrift 艺术|艺术

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2019-10-01 DOI: 10.1215/00666637-7719404

Einor K. Cervone

{"title":"Art | Adrift","authors":"Einor K. Cervone","doi":"10.1215/00666637-7719404","DOIUrl":"https://doi.org/10.1215/00666637-7719404","url":null,"abstract":"\u0000 A floating gallery, a drifting studio where sprawling waterscapes set off artwork on display and inspire original creation—the painting-and-calligraphy boat (shuhua chuan) may sound like a postmodern experimental installation. For its Ming patrons, however, it was nothing of the sort. Traceable to Mi Fu's floating gallery-cum-studio, the “art boat” was perceived as a beacon of cultural orthodoxy by generations of aesthetes like Mi Wanzhong, Dong Qichang, and Li Rihua. A nod to antiquity, it situated them in the continuum of long-standing tradition. The practice reached its acme in the mid- and late Ming, against currents of growing social mobility and dynamic imbalance that gave rise to a culture of connoisseurship as part of a fierce competition for social distinction. This paper examines the lure of waterborne art connoisseurship as cultural capital. Unique to the art boat is the act of collecting pieces for display and appraisal—an act akin to modern curatorial discernment. The selection of works that accompanied the patron onboard became an expressive medium. The painting-and-calligraphy boat also privileged a sense of fortuity. Chance encounters and spontaneous inspiration complemented the boats' movement along their free-form routes. Yet, the most prominent feature distinguishing the art boat was its visibility. Open panoramas of outstretched waterscape conjured a new creative avenue, a self-aestheticizing of both participant and vessel. This paper extricates the painting-and-calligraphy boat from its perception as a passing curiosity and shows it to be an enduring phenomenon that permeated premodern Jiangnan—the choice of the waterscape as a space of creation and recreation.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45216724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Where the Blessed One Paced Mindfully 世尊在哪里正念踱步

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2019-10-01 DOI: 10.1215/00666637-7719413

Minku Kim

{"title":"Where the Blessed One Paced Mindfully","authors":"Minku Kim","doi":"10.1215/00666637-7719413","DOIUrl":"https://doi.org/10.1215/00666637-7719413","url":null,"abstract":"\u0000 Caṅkrama is mindful locomotion, a notion and practice well developed in classical India. Within the Buddhist tradition, a series of such ambulations performed by the historical Buddha in the wake of his Enlightenment is widely recognized; in Bodhgayā itself, the monument known as Caṅkramaṇa has long commemorated the path he took. The early stupas of Bhārhut and Sāñcī also bear representations of this ambulation path and other noteworthy occurrences. In connection to caṅkrama, a fact that has been neglected until now is that the earliest and largest known freestanding statues of the Buddha made in Kuṣān Mathurā were all made to be installed at the venerated caṅkrama sites in Śrāvastī, Vārāṇasī, and Kauśāmbī. This essay groups these specimens together under the rubric of “caṅkrama type,” and suggests that this new taxonomy can be extended to other early standing statues of Mathurā with similar traits—kapardas, scalloped nimbi, akimbo arms, splayed feet, and so forth. Arguably, the very first appearances of Mathurā's “standing” Buddha-images might be closely related to the cult of caṅkrama, and thus should be factored into the historical transition from the previous aniconic period. The essay also presents a new interpretation of the term bodhisattva as it appears in the dedicatory inscriptions of the caṅkrama types and other early Mathurān statues depicting the Buddha. Here “bodhisattva” can be understood literally, and even symbolically, as equivalent to “image”; that is, the term may signify the representation itself rather than pointing to the Buddha's previous career as a bodhisattva.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48388083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

In Search of National Decoration 寻找国家勋章

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2019-10-01 DOI: 10.1215/00666637-7719395

Christine I. Ho

引用次数: 0

On the Elevated Terrace at the Corner 转角处的高架露台

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2019-10-01 DOI: 10.1215/00666637-7719422

Ghichul Jung

引用次数: 0

Art of Asia Acquired by North American Museums, 2017–2018 《亚洲艺术》被北美博物馆收藏，2017-2018