ARCHIVES OF ASIAN ART最新文献_第9页

The Thousand-armed Mañjuśrī at Dunhuang and Paired Images in Buddhist Visual Culture 敦煌千臂Mañjuśrī与佛教视觉文化中的成对意象

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2016-04-01 DOI: 10.1353/AAA.2016.0013

Michelle C. Wang

引用次数: 5

Mi Youren’s and Sima Huai’s Joint Poetry Illustrations 米有任、司马怀联合诗歌插画

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2016-02-12 DOI: 10.1353/AAA.2014.0021

S. Bush

引用次数: 2

Habitat Dioramas: Liu Kuiling’s Animal Paintings in Republican-Era Tianjin 栖息地透视:民国时期天津刘奎龄动物绘画

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2016-02-12 DOI: 10.1353/AAA.2014.0017

Lisa Claypool

引用次数: 0

Anne de Coursey Clapp (1928–2013) 安妮·德·库西·克拉普(1928 - 2013)

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2015-07-27 DOI: 10.1353/aaa.2014.0009

S. Bush

引用次数: 0

Asia Society Statement 亚洲协会声明

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2015-07-27 DOI: 10.1353/aaa.2014.0010

Melissa C. Chiu

{"title":"Asia Society Statement","authors":"Melissa C. Chiu","doi":"10.1353/aaa.2014.0010","DOIUrl":"https://doi.org/10.1353/aaa.2014.0010","url":null,"abstract":"Asia Society’s commitment to publishing scholarship on Asian art now has a history of more than half a century. The continuation of Archives of Asian Art has been one of our efforts to foster research and new thinking in the field. In recent years, this has meant the inclusion of contemporary art alongside historical investigations. One of the pioneers in these endeavors has been my predecessor, Dr. Vishakha N. Desai, who stepped down from her position as Asia Society President on September 1, 2012, after a distinguished tenure with the society of 22 years, which she began as Director of Asia Society Museum. While at Asia Society, Dr. Desai published, edited, or contributed to numerous books as well as many articles on traditional and contemporary art. Among the exhibitions for which she received the most praise is Gods, Guardians, and Lovers: Temple Sculptures from North India, A.D. 700–1200, co-curated with Darielle Mason in 1993. Dr. Desai is also well known for commissioning large-scale contemporary art exhibitions in the 1990s, including Asia/America: Identities in Contemporary Asian American Art (1994), Contemporary Art in Asia: Traditions/Tensions (1996), and Inside Out: New Chinese Art (1998), each groundbreaking in its own right. In 2012, she oversaw the inauguration of two major architectural projects for Asia Society centers in Hong Kong and Houston, Texas. Both new buildings include gallery spaces for exhibitions of Asian art. The field of Asian art scholarship has undergone many changes in the past decade, with new archaeological discoveries, the museum boom in Asia that has seen fast-paced collection formation, and the emergence of an appreciation for contemporary art. Asia Society responds to these changes in different ways. Our fall 2014 exhibition in New York focuses on a Korean American artist and his vision of the future through technology such as robotics and computer-generated imagery: Nam June Paik: Becoming Robot. Next spring we present Buddhist Art of Myanmar, the first major American loan exhibition focused on the art and culture of a country largely closed off to the world for decades. Both the exhibition and accompanying scholarly catalogue promise to be significant contributions to our understanding of Myanmar’s culture and Buddhism. In addition to our ongoing plans for exhibitions of traditional, modern, and contemporary art, we are also establishing initiatives designed to respond to the changing landscape of Asian art. Through the formation of the Asia Arts and Museum Network, Asia Society will convene museum professionals from Asia, North America, and Europe for face-to-face discussions to identify and navigate the challenges and opportunities developing in the new museum ecology of Asia. This takes the form of a large-scale annual Arts & Museum Summit at Asia Society Hong Kong Center, which is open to scholars and museum professionals, and the U.S.-China Museum Leaders Forum, which allows American museum professio","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2015-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/aaa.2014.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577775","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

O Sech’ang’s Compilation of Kŭnyŏk sŏhwa sa 槿域書畵史 (History of Korean painting and calligraphy) and the Publication of Kŭnyŏk sŏhwa ching 槿域書畵徵 (Biographical records of Korean painters and calligraphers) 吴世强编著《Kŭnyŏk sŏhwa sa槿畵》和《Kŭnyŏk sŏhwa ching槿畵》(韩国书画家传记)出版

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2014-10-27 DOI: 10.1353/AAA.2014.0002

Hong Jungsil Jenny Nathaniel Sunpyo, J. Lee, Nathaniel Kingdon

引用次数: 2

New Research on Central Asian Paintings in the National Museum of Korea 国立中央博物馆中亚绘画新研究

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2014-10-27 DOI: 10.1353/AAA.2014.0003

Kim Jo Cheon Park Haewon, Jo Yeontae, Cheon Juhyun, Park Seungwon

{"title":"New Research on Central Asian Paintings in the National Museum of Korea","authors":"Kim Jo Cheon Park Haewon, Jo Yeontae, Cheon Juhyun, Park Seungwon","doi":"10.1353/AAA.2014.0003","DOIUrl":"https://doi.org/10.1353/AAA.2014.0003","url":null,"abstract":"The National Museum of Korea in Seoul (hereafter NMK) houses part of the Ōtani collection, consisting of artifacts collected between 1902 and 1914 during archaeological expeditions organized by Ōtani Kōzui (1876–1948) in various parts of Asia, including Central Asia, Tibet, and India. Most of the Ōtani artifacts at NMK are from the Xinjiang Uighur Autonomous Region in China. One of the major issues in the study of these artifacts has been the difficulty of identifying individual pieces, as the original documents written by those who participated in the Ōtani expeditions rarely record the context of their excavation. The basic information on the artifacts was recorded on a master list, which is thought to have been composed when they were brought to Korea in 1916, but the list has been found to contain many errors. In this context, it is particularly important that these artifacts be subjected to scientific investigation in the hopes of finding evidence to support theories of their identification and origin, which have thus far been based mostly on art historical research. In 2012 curators and conservators of NMK conducted collaborative research on the paintings from the collection and were able to find additional information that helps to identify the artifacts. This essay introduces the major findings of that research, which involves Mı̄rān paintings, Pran ̇ idhi paintings from the Bezeklik Caves, and paintings from the Toyuk Caves.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2014-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577301","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

Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other 北川田司:追求自我和他者的颜料知识的绘画

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2014-10-27 DOI: 10.1353/AAA.2014.0005

Bert Winther-Tamaki

{"title":"Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other","authors":"Bert Winther-Tamaki","doi":"10.1353/AAA.2014.0005","DOIUrl":"https://doi.org/10.1353/AAA.2014.0005","url":null,"abstract":"The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年をインディアンと共に), this colorful narrative actually recounts a passage throughout North Ame","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2014-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577057","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

Donald F. McCallum (1939–2013) 唐纳德·麦卡勒姆（1939–2013）

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2014-10-27 DOI: 10.1353/AAA.2014.0007

S. Fowler

引用次数: 0

Rediscovering Zhang Jin and the Ming Painting Academy 重新认识张晋与明代画院

IF 0.5 1区艺术学

ARCHIVES OF ASIAN ART Pub Date : 2014-10-27 DOI: 10.1353/AAA.2014.0004

Hou-mei Sung

{"title":"Rediscovering Zhang Jin and the Ming Painting Academy","authors":"Hou-mei Sung","doi":"10.1353/AAA.2014.0004","DOIUrl":"https://doi.org/10.1353/AAA.2014.0004","url":null,"abstract":"Zhang Jin 張錦 was the leading master of Buddhist and Daoist figure painting in the mid-Ming court. Yet his name is little known in current Ming painting history. This is not surprising considering that, until recently, the entirety of early and mid-Ming court painting, which played an important role in setting new trends during this time, has been a relatively unexplored area. Even less is known about the Ming Painting Academy. In fact, the lack of information on the Ming Painting Academy has led many scholars to question its very existence. In order to fill this gap in Chinese painting history, I have dedicated much of my past research to the task of reconstructing the missing biographies of the Ming court painters and tracing the institutional history of the Painting Academy. My initial discovery including new dates and biographical information for Zhang Jin and four generations of his family was more than a decade ago. However, without a single surviving painting attributed to the Zhang masters, they seemed destined to remain in the archival realm of Ming painting history. This all changed, however, by the recent discovery of a painting by Zhang Jin (Fig. 1), which sheds new light on not only the outstanding achievements of the Zhang masters, but also their contribution to the emerging trend of Daoist figure painting. Even more importantly, through a subsequent reexamination of the Zhang masters’ careers, I was able to gain new insight into the still enigmatic military-artisan painters and the military ranking system of the Ming Painting Academy. To fully understand the reconstructed careers of Zhang Jin and his family, it is necessary to first briefly introduce the institutional history of the Ming Painting Academy. The first part of this essay traces the formation and major institutional changes of the academy. The second part reexamines the career of Zhang Jin and how his family entered the Ming court from a military background in Shandong. The final part introduces the recently discovered painting by Zhang Jin and the Zhang family’s role in setting a new trend in Daoist figure painting in the mid-Ming court. The Ming Painting Academy","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2014-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66576849","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