ARCHIVES OF ASIAN ART最新文献_第7页

"Utterly False, Utterly Undeniable": Visual Strategies in the Akaniṣṭha Shrine Murals of Takden Phuntsokling Monastery “完全错误，完全不可否认”：阿卡尼的视觉策略ṣṭ塔登丰松灵寺的ha神社壁画

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2017-10-01 DOI: 10.1215/00666637-4229692

Rob Linrothe

引用次数: 1

Japan's Venice: The Japanese Pavilion at the Venice Biennale and the "Pseudo-Objectivity" of the International 日本威尼斯：威尼斯双年展日本馆与国际的“伪客观性”

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2017-10-01 DOI: 10.1215/00666637-4229710

Ignacio Adriasola

{"title":"Japan's Venice: The Japanese Pavilion at the Venice Biennale and the \"Pseudo-Objectivity\" of the International","authors":"Ignacio Adriasola","doi":"10.1215/00666637-4229710","DOIUrl":"https://doi.org/10.1215/00666637-4229710","url":null,"abstract":"abstract:This essay addresses three key moments in the history of Japan's representation at the Venice Biennale: the introduction of \"Japanese art\" in the early stages of the exposition's development, in the late nineteenth century; Japan's official participation in the postwar Biennale, starting in 1952 and through the end of the 1960s; and the Japanese pavilion's program during the Biennale's so-called experimental period in the decade following the student demonstrations of 1968. While seemingly distinct, these three episodes evince a structural continuity: the demand for and performance of cultural difference within the space of the exhibition. This essay argues that Japan's (self-)representation of cultural alterity was mediated by the idea of pluralism promoted by the exhibition. Such representation was functional to the Biennale's mandate as well as to Japan's shifting world-historical aspirations. In the postwar period, Japanese artists and critics—including some individuals directly involved in the planning of Japan's submissions—came to diagnose what they saw as the limitations of the Biennale-Pavilion system. In doing so, they intuited a fundamental problem with the discourse of world in art as articulated in this exposition. This was, namely, the \"pseudo-objectivity\" of the international: the discourse of heterogeneity found in the Venice Biennale concealed inequalities based on the power differentials of the hegemonic world-system.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"209 - 236"},"PeriodicalIF":0.5,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47425495","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: 3

Interpreting the Eye ('ain): Poetry and Painting in the Shrineof Aḥmad Shāh al-Walī al-Bahmanī (r. 1422–1436) 解读眼睛（阿）：A神殿中的诗歌与绘画ḥmad Shāh al-Walīal-Bahmanī（1422–1436年在位）

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2017-10-01 DOI: 10.1215/00666637-4229701

Vivek Gupta

{"title":"Interpreting the Eye ('ain): Poetry and Painting in the Shrineof Aḥmad Shāh al-Walī al-Bahmanī (r. 1422–1436)","authors":"Vivek Gupta","doi":"10.1215/00666637-4229701","DOIUrl":"https://doi.org/10.1215/00666637-4229701","url":null,"abstract":"abstract:In Persian and Arabic 'ain carries several meanings, including \"eye, vision, a fountain, wellspring, or source.\" The poetry of the Sufi shaikh Shah Ni'matullah Vali (Kirman-Mahan, Iran, 1330–1431) inscribed in the shrine of the Bahmani sultan Ahmad Shah al-Wali al-Bahmani (Ashtur, Deccan India, r. 1422–1436) is full of wordplay on 'ain. Just as the inscriptions in Ahmad Shah's shrine (khānqāh) draw heavily on each of these meanings, its murals give sight to these 'ains. The paintings recognizably depict poetic allusions, and calligraphic talismans intensify each utterance. The shrine is surrounded by water sources, placing emphasis on instances when 'ain means fountain. This article offers an interpretation of the decorative program in the shrine of Ahmad Shah, and argues that this monument demonstrates a phenomenon where a poetic text is integrated into a profoundly aestheticized space.The Bahmani empire of Gulbarga and Bidar was the first Islamicate court culture to flourish in South-Central India and unified a vast territory from which the Deccani sultanates later emerged. This article demonstrates how the shrine of Ahmad Shah exemplifies a broader genealogy of Deccani refractions of the Timurid International Style. While the large-scale migration of Ni'matullahi Sufis from Iran to the Deccan imported certain aesthetic sensibilities, this research also draws attention to how local visual culture is reflected in the shrine's murals. It speculates how the careful planning of this site would have involved the collaboration of Indian and Iranian nobility, architects, and painters.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"189 - 208"},"PeriodicalIF":0.5,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42248427","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: 3

Colonial-Period Court Painting and the Case of Bikaner 殖民时期宫廷绘画与比卡内尔案

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2017-03-26 DOI: 10.1215/00666637-3788636

M. Aitken

{"title":"Colonial-Period Court Painting and the Case of Bikaner","authors":"M. Aitken","doi":"10.1215/00666637-3788636","DOIUrl":"https://doi.org/10.1215/00666637-3788636","url":null,"abstract":"Nineteenth-century court painters in India’s princely states reconfigured traditional portraiture to address British, Indian courtly and local values and conventions. At Bikaner, a father and son, Rahim and Chotu, experimented with a number of different styles and compositions to devise a royal portrait that confirmed monarchic ideals in uncertain times yet also modernized the genre in step with broader trends. Until recently the creative agency of such artists was mostly set aside as insufficiently modern to be art historically significant, with the result that detailed studies of colonial court painting are only now emerging, and the discipline still has little sense of how developments in this period related within the princely states or with the contemporaneous visual arts of British India. This paper begins to address the disciplinary lacuna on three fronts: first, by drawing out a critique from dispersed local studies to exert more forceful pressure on the discipline; second, by examining the pictorial strategies with which Chotu and Rahim addressed the cultural transformations of the late nineteenth century to test the field’s frameworks against the complex, particular visual thinking of court artists; and third, by comparing the strategies of Chotu and Rahim with the visual rhetoric of Bengal School painters to expand on colonial conceptions of past and present, of Western and non-Western, and of the affective power of images. These three approaches are directed at estranging colonial modernism from art historical narratives that give preference to internationalized terms and tastes.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"25 - 59"},"PeriodicalIF":0.5,"publicationDate":"2017-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49222312","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

Heike Paintings in the Early Edo Period: Edification and Ideology for Elite Men and Women 江户前期的黑客绘画：对精英男女的教化与思想

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2017-03-26 DOI: 10.1215/00666637-3788627

N. Gunji

{"title":"Heike Paintings in the Early Edo Period: Edification and Ideology for Elite Men and Women","authors":"N. Gunji","doi":"10.1215/00666637-3788627","DOIUrl":"https://doi.org/10.1215/00666637-3788627","url":null,"abstract":"The Heike monogatari (Tale of the Heike) is a warrior chronicle represented in a variety of formats: not just texts but narration, performing arts, and paintings, among others. This paper explores the elite reception of Heike paintings in the Edo period by connecting it closely to the reception of other formats. Studying the “Chishakuin group”—a canonical group of paintings for elites depicting two battles in the Heike monogatari—and analyzing in particular the pair of screens in the British Museum, I will bring to light some intended functions of a social, political, and ideological nature that the Edo warrior elite expected of these paintings: most centrally, to edify the audience and legitimize the Tokugawa rule. As will be shown, these functions relied closely on the similar ones expected of other formats of the Heike monogatari. In fact, I will argue that Heike paintings, as well as the tale itself, were targeted to and received by elite women, not just men. I will investigate an interesting case of appreciation of Heike picture scrolls in 1632 by Tōfukumon’in, a daughter of the second Tokugawa shogun Hidetada and the imperial consort of Emperor Go-Mizunoo. It will be made clear that political and ideological reasons stemming from her particular background and circumstances were behind Tōfukumon’in’s practice of reading the Heike paintings.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"1 - 24"},"PeriodicalIF":0.5,"publicationDate":"2017-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46420924","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

More Than Mere Diversion: Painting and Tihuashi in the Life of Luo Qilan 不只是消遣:罗启兰一生中的绘画与体花诗

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2017-03-26 DOI: 10.1215/00666637-3788645

De-nin D. Lee

引用次数: 0

Transformations of Identity and the Buddha’s Infancy Narratives at Kanaganahalli 身份的转变与佛陀在卡纳格纳哈里的幼年叙事

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2017-03-26 DOI: 10.1215/00666637-3788663

S. R. Quintanilla

{"title":"Transformations of Identity and the Buddha’s Infancy Narratives at Kanaganahalli","authors":"S. R. Quintanilla","doi":"10.1215/00666637-3788663","DOIUrl":"https://doi.org/10.1215/00666637-3788663","url":null,"abstract":"This essay proposes a chronology of sculptural embellishment at the recently excavated Buddhist stūpa at Kanaganahalli in the state of Karnataka in southwestern India. Included is the interpretation of caption inscriptions as later additions, applied during the second century ce in order to alter and update the meaning of older, preexisting imagery from the first century bce. Transforming the meaning of visual images by the addition of new descriptive inscriptions indicates a shift in interests and priorities in the Buddhist community at Kanaganahalli over the span of about 150 years.The narrative episode from the life of the Buddha Śākyamuni in which his mother presents him as a newborn to the deity of a tree-shrine is featured as a key example of this phenomenon. While the sculpted image depicts the spirit of a tree venerating the infant, the caption inscription identifies the scene as the presentation of Śākyamuni to the deity of his father’s ancestral clan, described in textual sources as performed by men at a structural temple. The shift in meaning of this and other images at Kanaganahalli indicate that Buddhist narrative sources and emphases from predominantly patriarchal northern regions rose to greater prominence in the south during the second century ce. The new identities of older imagery diminish the role of vernacular women’s rites, which were important in the southern regions of Karnataka and Andhra Pradesh, where the social structure of local populations was matriarchal.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"67 1","pages":"111 - 142"},"PeriodicalIF":0.5,"publicationDate":"2017-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44922047","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: 3

Painting, Peonies, and Ming Loyalism in Qing-Dynasty China, 1644–1795 1644-1795年中国清代的绘画、牡丹与明朝忠诚

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2017-03-26 DOI: 10.1215/00666637-3788654

K. Chiem

引用次数: 3

Chinese Glass Paintings in Bangkok Monasteries 曼谷寺院的中国玻璃画

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2016-09-09 DOI: 10.1353/AAA.2016.0015

J. Patterson