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Thematische Bibliographien / Asian Studies|Art Criticism|Art History / Zeitschriftenartikel

Zeitschriftenartikel zum Thema „Asian Studies|Art Criticism|Art History“

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Autor: Grafiati

Veröffentlicht am 14. September 2021

Zuletzt aktualisiert am 12. Februar 2022

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1

Mahamood, Muliyadi. „THE ROLE OF CARTOON IN THE FORMATION OF ASIAN COMMUNITY: ART HISTORY ANALYSIS“. Historia: Jurnal Pendidik dan Peneliti Sejarah 13, Nr. 1 (26.07.2017): 27. http://dx.doi.org/10.17509/historia.v13i1.7703.

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Cartoon art is a form of visual communication that can effectively convey a message and social criticism. In the Malaysian context, the editorial cartoons have been proven as effective since the beginning of independence until now. Even so, the form and style of criticism have always been changing through the time and are influenced by environmental, socio-political, legal and media ownership factors. Through formalistic and contextual analysis of selected works from Malaysia, particularly in Lat cartoons, this paper seeks survey and examines the existence of Asian cartoon style role towards the formation of the Asian community.

2

Maxwell, Robyn J. „Asian art acquisitions“. Asian Studies Association of Australia. Review 8, Nr. 3 (April 1985): 23–24. http://dx.doi.org/10.1080/03147538508712361.

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3

Menzies, Jackie. „Asian art acquisitions“. Asian Studies Association of Australia. Review 8, Nr. 3 (April 1985): 24. http://dx.doi.org/10.1080/03147538508712362.

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4

Jack‐Hinton, Fiona. „Asian art acquisitions“. Asian Studies Association of Australia. Review 8, Nr. 3 (April 1985): 25–26. http://dx.doi.org/10.1080/03147538508712363.

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5

Isaac, Allan Punzalan, Johan Mathew, Anjali Nerlekar, Paul Schalow und Tamara Sears. „Further thoughts on Asian Studies “inside-out”“. International Journal of Asian Studies 18, Nr. 2 (10.06.2021): 217–24. http://dx.doi.org/10.1017/s1479591421000152.

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AbstractIn response to Sato and Sonoda's “Asian Studies ‘inside out’: research agenda for the development of Global Asian Studies,” members of the Global Asias Collaborative at Rutgers University – comprised of a diverse group of scholars of Asia and the Asian diaspora located in history, literature, art history, geography, among other disciplines – offer responses to this generative prompt to remap the place and field of “Asia” in its heterogeneous and interwoven temporalities and topologies.

6

Thomas, Phillip L., Keith Foulcher, Paul Tickell, Carlien Patricia Woodcroft–Lee und George Quinn. „‘State of the art’ surveys of Asian studies: literature“. Asian Studies Association of Australia. Review 9, Nr. 1 (Juli 1985): 19–32. http://dx.doi.org/10.1080/03147538508712374.

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7

Gulacsi, Zsuzsanna. „Contextualized Studies on the History of Manichaean Art across the Asian Continent“. École pratique des hautes études. Section des sciences religieuses, Nr. 120 (01.10.2013): 51–62. http://dx.doi.org/10.4000/asr.1155.

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8

O'Connor, Stanley J. „Humane Literacy and Southeast Asian Art“. Journal of Southeast Asian Studies 26, Nr. 1 (März 1995): 147–58. http://dx.doi.org/10.1017/s0022463400010547.

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Humane literacy? An essay on undergraduate education? Isn't it a solecism to broach such concerns in this special issue ofThe Journal of Southeast Asian Studieswhere contributors are invited to take stock of the current state of scholarship in various fields of study? My response is simply if not now, then when? I am writing from North America where Southeast Asian studies has gained only a precarious beach-head in the academy and nowhere is this more evident than in the very limited undergraduate investment in our field. Despite the fact that any expansion of academic appointments for specialists on the region will be spurred by evidence of general student interest, a concern with that issue, on our occasions of collective self scrutiny, has been subordinated to questions of research direction, funding strategies, and the prevailing degree of accord between the various disciplines and area studies. But, however ancillary the general education mission of the undergraduate college may seem to professional scholars eager to get on both with their research and the training of graduate students, it is nevertheless a principal responsibility of those deans who control academic appointments. We differ from our colleagues within Southeast Asia where an interest in the region can be either assumed, or expected eventually to develop. While American universities place globalization high on their agendas today, it is not at all evident that their students will wish to study about Southeast Asia rather than, say, Africa or Latin America. So we do need to focus on how we may demonstrate the centrality of what we do to the process of self-discovery and the integration of learning that is at the heart of general education.

9

Courtenay, P. P., und Gale Dixon. „‘State of the art’ surveys of Asian studies: geography and literature“. Asian Studies Association of Australia. Review 8, Nr. 3 (April 1985): 2–6. http://dx.doi.org/10.1080/03147538508712356.

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10

Teh, David. „The Preter-National: The Southeast Asian Contemporary and What Haunts It“. ARTMargins 6, Nr. 1 (Februar 2017): 33–63. http://dx.doi.org/10.1162/artm_a_00165.

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Southeast Asian modern art has thus far been historicized largely within national historical frameworks. The region's contemporary art has been pulled, sometimes unwillingly, into those national frameworks, even as it enters a global market and takes part in a more transnational dialogue. What is the geography proper to contemporary art? And what insights might a regional perspective afford about art that speaks to a world beyond the nation, but resists outright assimilation under the rubric of ‘the global’? This essay proposes a calibration of three art historical frames – national, regional and international. I argue that far from meaning transcendence of national frames, even where artists intend it, contemporaneity compounds and complicates them. I examine two specific manifestations of contemporaneity, one that emerged at the height of the Cold War in the work of a Sino-Thai modernist, Chang Sae-tang; the other in the broaching of Cold War trauma in art and film of the ‘post-historical’ twenty-first century. Neither ‘contemporary’ can be understood without its respective national framing, but that framing alone proves inadequate for describing the complex histories, subjectivities, and formal choices with which Southeast Asian artists have grappled. If studies of modern art demanded recourse to specific national histories, the study of contemporary art will require no less specific histories of the international.

11

Warts, Cybèle Elaine. „Interview with Tamara Moats, Speaker on Visual Thinking and Use of Art Data“. Education Libraries 31, Nr. 2 (05.09.2017): 39. http://dx.doi.org/10.26443/el.v31i2.249.

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Tamara Moats was curator of education at the University of Washington's Henry Art Gallery for nineteen years where she organized programs for all ages, developed the museum’s teaching methods, and wrote extensive curricula. She now teaches art history at the Bush School Upper School and the Cornish College of the Arts, and visual thinking at the University of Washington Medical School. Moats holds a BA degree in art history from the University of Puget Sound and an MA in Asian Studies from the Claremont Graduate School.

12

Rošker, Jana S. „Introduction“. Asian Studies 9, Nr. 1 (07.01.2021): 7–9. http://dx.doi.org/10.4312/as.2021.9.1.7-9.

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This issue of the journal Asian Studies will examine the cultural, social and intellectual legacies of the various Asian regions. Its geographical scope extends from China to Iran and from Afghanistan to Fujian. It examines different aspects of history, from classical and modern intellectual history to art, political and gender history. It clearly shows that the history of this vast and diverse region is complex.

13

Rošker, Jana S. „Introduction“. Asian Studies 9, Nr. 1 (07.01.2021): 7–9. http://dx.doi.org/10.4312/as.2021.9.1.7-9.

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This issue of the journal Asian Studies will examine the cultural, social and intellectual legacies of the various Asian regions. Its geographical scope extends from China to Iran and from Afghanistan to Fujian. It examines different aspects of history, from classical and modern intellectual history to art, political and gender history. It clearly shows that the history of this vast and diverse region is complex.

14

Oh, Younjung. „Oriental Taste in Imperial Japan: The Exhibition and Sale of Asian Art and Artifacts by Japanese Department Stores from the 1920s through the Early 1940s“. Journal of Asian Studies 78, Nr. 1 (Februar 2019): 45–74. http://dx.doi.org/10.1017/s0021911818002498.

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From the 1920s to the early 1940s, Japanese department stores provided Japanese urban middle-class households with art and artifacts from China, Korea, Taiwan, and Southeast Asia. The department stores not merely sold art and artifacts from Japan's Asian neighbors but also promoted the cultural confidence to appreciate and collect them. At the same time, aspiring middle-class customers satisfied their desire to emulate the historical elite's taste for Chinese and other Asian objects by shopping at the department stores. The aesthetic consumption of Asian art and artifacts formulated a privileged position for Japan in the imperial order and presented the new middle class with the cultural capital vital to the negotiation of its social status. This article examines the ways in which department stores marketed “tōyō shumi” (Oriental taste), which played a significant role in the formation of identity for both the imperial state and the new middle class in 1920s and 1930s Japan.

15

Kontou, Vicky. „A tale of two courses: the Courtauld Institute of Art case study of building the book collection to new subjects“. Art Libraries Journal 40, Nr. 1 (2015): 30–36. http://dx.doi.org/10.1017/s0307472200000080.

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In 2011 the Courtauld Institute of Art was awarded funding for two new MA subjects looking to Asian art, in addition to its strengths studying art produced in the western tradition. The library was called on to build its collection around the new subjects to support the students in their studies. What selections tools and strategies have been used and what problems has the library encountered along the way? The new subjects are outlined and the library’s approach is discussed. Lessons were learned from the past and the library is about to embark in a new phase in its collecting history.

16

Chagnon, Michael. „Persian Ceramics From the Collection of the Asian Art Museum“. Iranian Studies 43, Nr. 5 (Dezember 2010): 743–47. http://dx.doi.org/10.1080/00210862.2010.518589.

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17

Chan, Pedith Pui. „The Discourse of Guohua in Wartime Shanghai“. European Journal of East Asian Studies 19, Nr. 2 (04.12.2020): 263–96. http://dx.doi.org/10.1163/15700615-01902010.

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Abstract This article looks at artists’ engagement with artistic activities carried out in wartime Shanghai, with a particular focus on guohua (lit., ‘national painting’). Drawing on primary sources such as archival materials, diaries, paintings, magazines and newspapers, it explores the layered meanings attached to and social functions of guohua and the institutional structure of the Shanghai art world from the gudao (solitary island) period to the advent of full occupation from December 1941 onwards. As a symbol of Chinese elite culture, guohua continued to dominate the Shanghai art world with support from Wang Jingwei’s regime and the occupying Japanese, and was deemed the root of East Asian art and one of the crucial pillars of the East Asian renaissance in the discourse of the new order of East Asian art. Through closely examining the discourse of guohua in occupied Shanghai, this article advances our understanding of the production and consumption of art in wartime Shanghai by going beyond the paradigmatic binary of ‘collaboration’ and ‘resistance’.

18

Paul, Paramita. „The Eccentrics of Istanbul: Chan, Art, and Cross-Asian Networks in the Ming“. Ming Studies 2018, Nr. 78 (03.07.2018): 7–31. http://dx.doi.org/10.1080/0147037x.2018.1505132.

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19

Maxwell, Robyn J. „But is it art? recent anthropological research on southeast Asian textiles“. Asian Studies Association of Australia. Review 12, Nr. 2 (November 1988): 3–11. http://dx.doi.org/10.1080/03147538808712549.

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20

Lah, Nataša. „Prilog širenju teorijske domene u povijesnom prostoru povijesti umjetnosti“. Ars Adriatica, Nr. 3 (01.01.2013): 243. http://dx.doi.org/10.15291/ars.472.

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In the European cultural tradition of the second half of the nineteenth century, the framework of the discipline of art history was outlined through a clearly defined set of boundaries of its research into objects, space and time. By identifying itself as a history of European architecture, painting, sculpture and the applied arts, art history excluded the art of the primitive, Oriental, American and Asian, both early and moredeveloped civilizations from the remit of its research and study (Dilly). However, a scholarly paradigm which was postulated like this could not be applied to the study and assessment of numerous twentieth-centuryartistic practices which were based on the exploration of cultures as systems of discourse and ideology. In other words, a shattering shift within the discipline was caused by the epochal change of what a paradigm is: as suggested by T. S. Kuhn, it is understood as thenormative content of the topic under discussion. Such an understanding of a paradigm indirectly influences scholarly processes because it dictates what is to be researched, which questions are to be asked and how they are to be formulated, and how research findings are to be interpreted. Scholarly interest has turned from a chronological study of the development of artistic styles, schools and movements in the history ofEuropean art towards contextual research into the same topics which are set within a spatial and chronological framework of a series of discontinued revolutions in world views. The difficulty of applying a traditional scholarly apparatus to new models was also transferred in the field of aesthetics, which resulted in a complete rejection of the evaluation of art as judgement of taste, as it was specifically perceived in this philosophical (sub) discipline from Baumgarten (1750) onwards. To some degree, aesthetics was replaced by an interdisciplinaryunderstanding of art theory which developed from various autonomous disciplines which are nonetheless mutually interconnected through their research processes, that is, the social sciences and humanities such as history of art, art criticism, sociology of art, psychology of art, semiotics and semiology of art, philosophy of art and aesthetics. In such a context,our interest is directed towards the understanding of a theoretical field which has been defined as the history of art history, since it outlines the journey of a discipline, in Udo Kultermann’s book of the same name which is on the reading list for the course in art theory in Croatian academic art-historical circles. The study of that section of the book which describes the history of art history in the classical period, has demonstrated that the explanations and conclusions contained in it are in contrast to the explanations and conclusions of prominent art theorians, especially those who studied the history of aesthetics and classical philology. We can note the differences on two levels. The first is the methodology of scholarly research, while the second is based on a different perception of the boundaries of the domain of art-historical theory. Kultermann relies on a strict division with regard to content and methodology between art istory,philosophy (aesthetics) and historiography, and so, following from this, it appears that classical art history almost did not even exist. On the other hand, the theory of art takes into consideration the nature of classical historiographic standards, the aim of which was to provide examples of the normative content of philosophy, that is, the testimonies of its credibility and manifestation. Such an approach takes into account thecontent norms of the preserved classical sources about art, and through it, our perception of the position of art in that period focuses on the theoretical insights which are more encompassing than those encountered in the aforementioned section of Kultermann’s book. Based on this, we suggest that the evaluation of material should follow the methodological standards of art theory in such a way that individual artistic eras are understood and interpreted as historical periods which were unifiedthrough invariable paradigms which were always new and which integrated a large number of artistic concepts and ideas but which, nonetheless, possessed a general value in a specific period. According to Bihalji-Merin, we act like this out of gratitude towards an academicdiscipline which creates an orderly knowledge since the “images which lead us, constructed from a mythical tradition, disperse slowly and instead of them, a critical, human system of thought is formed.” Such aprocess focuses primarily on the revision of a number of hitherto unrevised prejudices towards theory.However, this is not done on the ruins of the historical legacy of art history but on its foundations.

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Wade Haddon, Rosalind A. „Two Ceramic Pieces from the Asian Art Museum of San Francisco“. Muqarnas Online 21, Nr. 1 (22.03.2004): 153–59. http://dx.doi.org/10.1163/22118993_02101014.

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22

Benezra, Karen. „Responses to “Art, Society/Text: A Few Remarks on the Current Relations of the Class Struggle in the Fields of Literary Production and Literary Ideologies”“. ARTMargins 6, Nr. 3 (Oktober 2017): 50–81. http://dx.doi.org/10.1162/artm_a_00189.

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The present dossier compiles brief responses to the anonymously published “Art, Society/ Text: A Few remarks on the Current Relations of the Class Struggle in the Fields of Literary Production and Literary Ideologies” (1975), from five scholars working in the fields of philosophy, literary theory and Marxism, as well as Latin American and Asian studies. First published in the Slovenian journal Problemi-Razprave (Problems-Debates) and first translated in an excerpted form in ARTMargins (October 2016), the text and its responses raise a series of questions about the specificity of art and literature as signifying practices in the wake of modernist autonomy; the form assumed by class struggle within the authors' structuralist framework; and the possible consequences of such theoretical issues for the critique and historiography of art since the 1960s.

23

Brown, Robert L. „The Kingdom of Siam: The Art of Central Thailand, 1350–1800. Edited and curated by Forrest McGill; co-curated by Pattaratorn Chirapravati. Asian Art Museum, Chong-Moon Lee Center for Asian Art and Culture, and Peabody Essex Museum. Ghent: Snoeck Publishers; Chicago: Art Media Resources; Bangkok: Buppha Press, 2005. 200 pp. $29.95 (paper).“ Journal of Asian Studies 66, Nr. 1 (Februar 2007): 285–87. http://dx.doi.org/10.1017/s0021911807000526.

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24

Vickers, Adrian. „Visual methods and the study of Balinese art collections“. Journal of Southeast Asian Studies 51, Nr. 3 (September 2020): 321–42. http://dx.doi.org/10.1017/s0022463420000478.

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Digital tools offer new possibilities for visual research, and such tools can provide methods for revitalising our understanding of the field of culture. Despite the importance of the visual as an element of culture, it is only in the last decade that the visual as a phenomenon of seeing has been a major feature of theoretical and methodological approaches to Southeast Asia. The long traditions of art history, anthropology and related fields in Southeast Asian studies have hitherto been focused on empirical documentation. In studying one aspect of the visual archive created by the polymath Gregory Bateson during his partnership with Margaret Mead, I will draw on methodologies that have their origins in Bateson's writings. These methodologies find fresh conditions in digital environments, in ways that allow us to bring into play a variety of theories of the visible.

25

Skorupski, Tadeusz. „Pratapaditya Pal (comp.): Light of Asia: Buddha Sakyamuni in Asian art. 331pp. Los Angeles: Los Angeles County Museum of Art, \1984[. (Distributed by University of Washington Press.)“. Bulletin of the School of Oriental and African Studies 51, Nr. 1 (Februar 1988): 162–63. http://dx.doi.org/10.1017/s0041977x0002067x.

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26

Kudaibergenova, Diana T. „“My Silk Road to You”: Re-imagining routes, roads, and geography in contemporary art of “Central Asia”“. Journal of Eurasian Studies 8, Nr. 1 (Januar 2017): 31–43. http://dx.doi.org/10.1016/j.euras.2016.11.007.

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This paper re-focuses the Silk Road discussions from the position of contemporary art in Central Asian region. Since the late 1980s contemporary art in Central Asia boomed and it eventually became an alternative public space for the discussion of cultural transformations, social and global processes and problems that local societies faced. Initially the questions raised by many artists concerned issues of lost identity and lost heritage during the period of Soviet domination in the region. Different artists started re-imagining the concept of the Self in their works and criticising the old rigid approaches to geography, history and mobility. Nomadic heritage became one of the central themes in contemporary art of Central Asia in the 1990s. Artists started experimenting with symbols of mobility, fluid borders and imagined geography of the “magic steppe” (see Kudaibergenova 2017, “Punk Shamanism”). Contemporary art in Central Asia continues to serve as a space for social critique and a space for search and re-conceptualisation of new fluid identities, geographies and region's place on the world map. In this paper I critically evaluate three themes connected to the symbolism of Silk Road heritage that many artists engage with – imagined geography, routes, roads and mobility. All three themes are present in the selected case studies of Gulnara Kasmalieva's and Muratbek Djumaliev's TransSiberian Amazons (2005) and A New Silk Road: Algorithm of Survival and Hope (2007) multi-channel video art, Victor and Elena Vorobievs’ (Non)Silk Road (2006) performance and photography, Almagul Menlibayeva's My Silk Road to You video-art and photography (2010–2011), Yerbossyn Meldibekov's series on imagining Central Asia and the Mountains of Revolution (2012–2015), and Syrlybek Bekbotaev's Kyrgyz Pass installation (2014–2015) as well as Defenders of Issyk Kul (2014). I trace how artists modernise, mutate and criticise main discourses about Silk Road and what impact this has on the re-imagination processes.

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Michell, George. „Vidya Dehejia: Art of the Imperial Cholas. (The Polsky Lectures in Indian and Southeast Asian Art and Archaeology.) xviii, 148 pp. New York, Columbia University Press. 1990. $37.50.“ Bulletin of the School of Oriental and African Studies 55, Nr. 1 (Februar 1992): 152. http://dx.doi.org/10.1017/s0041977x00003025.

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28

Hussain, Syed Ejaz. „History as Memory: Alexander in South Asian Demotic Literature and Popular Media“. Asian Review of World Histories 9, Nr. 2 (16.07.2021): 157–88. http://dx.doi.org/10.1163/22879811-12340092.

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Abstract The diversity and range of existing archives on the history and romance of Alexander have projected on him a multiplicity of images. Alexander’s conquests, military achievements, romance, myths, and legends have fascinated writers, scholars, historians, poets, filmmakers, the media, and designers of websites around the world. His invasion of India in 326 BCE left an indelible influence on Indian art, history, and literature. The present essay takes up a theme on which not much work has been done in modern scholarship. It focuses on the nature and diversity of the historical memory of Alexander in modern South Asia, particularly as reflected in modern Urdu and Hindi, the two major languages of the subcontinent. It also examines how Alexander is portrayed in popular culture and India’s nationalist discourse.

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Kudinova, Maria A. „Images of Dogs in Chinese Rock Art“. Oriental Studies 19, Nr. 10 (2020): 23–34. http://dx.doi.org/10.25205/1818-7919-2020-19-10-23-34.

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The paper analyzes images of dogs in rock art of China. According to the semantics of compositions the following groups can be distinguished: hunting dogs, herding dogs, guard dogs, using of dogs in rituals, mythological and folklore motifs and other images. According to the distribution of different thematic groups of images, two big areas – northern and south-western – can be seen. In northern regions of China (Xinjiang Uyghur Autonomous Region, Inner Mongolia Autonomous Region, Ningxia Hui Autonomous Region, Gansu Province) the scenes of practical use of dogs (hunting, grazing, guarding herds and dwellings) prevail, which can be explained by the characteristics of the economic structure of the nomadic peoples who inhabited these territories. The images of a horseman followed by a dog and a bird of prey seen in Xinjiang and Inner Mongolia can be interpreted as depictions of some motifs of heroic epos of Central Asian nomadic peoples. Other compositions in northern regions have been found to depict not only “realistic”, but “mytho-ritual” interpretations as well. In south-western regions (Guangxi Zhuang Autonomous Region, Yunnan Province, Sichuan Province) the images of dogs in ritual and/or a mythological context are more common. It is likely connected with the less practical importance of dogs in the agricultural economy and the higher status of this animal in the spiritual culture of the peoples of Southern China. Rock paintings in Cangyuan County, Yunnan Province, is an exception that combines the images belonging to both traditions, namely a picture of a hunting dog and a dog as a sacrificial animal. Some images cannot yet be deciphered unequivocally.

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Vampelj Suhadolnik, Nataša. „Between Ethnology and Cultural History“. Asian Studies 9, Nr. 3 (10.09.2021): 85–116. http://dx.doi.org/10.4312/as.2021.9.3.85-116.

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While a few larger collections of objects of East Asian origin entered Slovenian museums after the deaths of their owners in the 1950s and 60s, individual items had begun finding their way there as early as the nineteenth century. Museums were faced early on with the problem not only of how to store and exhibit the objects, but also how to categorize them. Were they to be treated as “art” on account of their aesthetic value or did they belong, rather, to the field of “ethnography” or “anthropology” because they could illustrate the way of life of other peoples? Above all, in which museums were these objects to be housed? The present paper offers an in-depth analysis of these and related questions, seeking to shed light on how East Asian objects have been showcased in Slovenia (with a focus on the National Museum and the Slovene Ethnographic Museum) over the past two hundred years. In particular, it explores the values and criteria that were applied when placing these objects into individual categories. In contrast to the conceptual shift from “ethnology” to the “decorative and fine arts,” which can mostly be observed in the categorization of East Asian objects in North America and the former European colonial countries, the classification of such objects in Slovenia varied between “ethnology” and “cultural history,” with ethnology ultimately coming out on top. This ties in with the more general question of how (East) Asian cultures were understood and perceived in Slovenia, which is itself related to the historical and social development of the “peripheral” Slovenian area compared with former major imperial centres.

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Michaud, Jean. „Editorial – Zomia and beyond“. Journal of Global History 5, Nr. 2 (15.06.2010): 187–214. http://dx.doi.org/10.1017/s1740022810000057.

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AbstractThis editorial develops two themes. First, it discusses how historical and anthropological approaches can relate to each other, in the field of the highland margins of Asia and beyond. Second, it explores how we might further our understandings of the uplands of Asia by applying different terms such as ‘Haute-Asie’, the ‘Southeast Asian Massif’, the ‘Hindu Kush–Himalayan region’, the ‘Himalayan Massif’, and in particular ‘Zomia’, a neologism gaining popularity with the publication of James C. Scott’s latest book, The art of not being governed: an anarchist history of upland Southeast Asia.1 Through a discussion of the notion of Zomia, I will reconsider certain ‘truths’ regarding highland Asian studies. In the process, I seek to contribute to disembedding minority studies from the national straitjackets that have been imposed by academic research bounded by the historical, ideological, and political limits of the nation-state.

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Ghanimian, Levon. „Temür, Painter of Politics“. Review of Middle East Studies 54, Nr. 1 (Juni 2020): 127–28. http://dx.doi.org/10.1017/rms.2020.9.

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Persia in the post-Mongol era is an ambiguous concept. The area is riddled with different ethnicities, religions, and seemingly endless claims to power. The Timurid Empire is no exception to this trend. Temür rises to power in 1370 using Central Asian nomadic styles of ruling and quickly dominates this geographic region inhabited by a plethora of ethnicities and religions. He understands the volatility of maintaining a large, diverse empire and takes key steps in securing his “united” rule. The key political move that this paper examines is Temür's commissioning of art. The art endorsed by the Timurid government surrounds the illumination of manuscripts and the illustration of literature. The Timurids conveyed two main messages to those living under their empire. The first message targets the main ethnic groups: Iranians, Mongols and Turks, justifying Temür as their rightful leader. The second message is delivered to the ethnic minorities, instilling fear to prevent rebellions and ensure subjugation. This paper will demonstrate that the Timurids decided to present political messages through cultural media because they understood the how literature and art were imperative in shaping identity.

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De Simone, Daniela. „Deborah Klimburg-Salter and Linda Lojda (eds): South Asian Archaeology and Art. Changing Forms and Cultural Identity: Religious and Secular Iconographies, Vol. 1. Papers from the 20th Conference of the European Association for South Asian Archaeology and Art held in Vienna from 4th to 9th of July 2010. (South Asian Archaeology and Art.) 243 pp. Turnhout: Brepols, 2016. €125. ISBN 978 2 503 55243 9.“ Bulletin of the School of Oriental and African Studies 83, Nr. 1 (Februar 2020): 157–59. http://dx.doi.org/10.1017/s0041977x20000233.

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Taylor, Nora A. „Asian Art History in the Twenty-First Century. Edited by Vishakha N. Desai. Williamstown, M.A.: Sterling and Francine Clark Art Institute, 2007. xiii, 253 pp. $24.95 (paper)What's the Use of Art? Asian Visual and Material Culture in Context. Edited by Jan Mrázek and Morgan Pitelka. Honolulu: University of Hawai‘i Press, 2008. 313 pp. $58.00 (cloth).“ Journal of Asian Studies 68, Nr. 02 (Mai 2009): 573. http://dx.doi.org/10.1017/s0021911809000710.

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35

Compareti, Matteo. „Iranian Composite Creatures between the Caucasus and Western China: The Case of the So-Called Simurgh“. Iran and the Caucasus 24, Nr. 2 (23.06.2020): 115–38. http://dx.doi.org/10.1163/1573384x-20200202.

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In the light of recent investigations by archaeologists and historians of art, several textile decorative patterns that have been uncritically attributed to Sasanian Persia in the past should be considered most likely Central Asian creations. Typical Iranian composite creatures, such as the so-called simurgh, had become very popular in Eurasia since the 7th century A.D. However, for some reason not completely clear, the so-called simurgh was not adopted by Central Asian Buddhists who, on the contrary, accepted other Iranian (possibly Sogdian) motifs, such as the wild boar head, the winged horse and birds holding a necklace in their beak within pearl roundel frames. The presence of such Iranian decorative motifs in monumental arts or objects of luxury arts (textiles, metalwork, glass, etc.) could be a valid instrument to propose better chronologies for excavated artifacts on a very wide area, which includes Persia, the Caucasus, Central Asia, and the Tibetan Plateau as well.

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Tsareva, Elena. „Central Asian Ikats in Written Islamic Sources of the 10th—12th Centuries (in the Framework of Study of Textile Collections of the MAE RAS)“. Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, Nr. 2 (Dezember 2020): 81–84. http://dx.doi.org/10.31250/1238-5018-2020-26-2-81-84.

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Known today under a general literary name of ikat, Western Central Asian textiles of the category represent a specific branch of the craft. One of its largest and the richest collections belongs to the MAE RAS. Traced as commodity of Moscow — Bukhara commerce since the 16th century, and a point of collecting and ethnographic and art history studies since mid‑19th century, the type still needs historical and terminological investigation. Suggested article considers three hardly explored in this direction sources. One — Central Asian ikats in written Islamic sources — is based on R. B. Serjeant work Islamic Textiles. Materials for a History up to the Mongol Conquest. According to R. B. Serjeant the earliest mentioning of Herat and Merv ‘asb “striped stuffs” corresponds to the time of ‘Abd al‑Malik (r. 65—86 / 685—705). Matching by date is the close to the Ferghana Valley ikat finding from the supposedly Soghdian Dulan archaeological site (Qinghai province, Tibet). The third, terminological issue of the article traces penetration of Persian / Tajik ikat terms into the Russian textile vocabulary: the earliest fixed case refers to 1551—1605, assuming still earlier time of adaptation of the term. No matter how few, suggested data adds important information on the history of the Western Central Asian ikat tradition.

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Antoinette, Michelle. „A space for ‘Asian-Australian’ art: Gallery 4A at The Asia-Australia Arts Centre“. Journal of Australian Studies 32, Nr. 4 (Dezember 2008): 531–42. http://dx.doi.org/10.1080/14443050802471434.

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Wheeler, Brannon M. „Report on the International Workshop on the Integration of lslamic Studies into Liberal Arts Curricula“. American Journal of Islam and Society 15, Nr. 2 (01.07.1998): 159–66. http://dx.doi.org/10.35632/ajis.v15i2.2192.

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On March 6-7, 1998 the incipient program in Comparative IslamicStudies at the University of Washington (UW) hosted an internationalworkshop on the Integration of Islamic Studies into Liberal ArtsCurricula. This workshop was sponsored by the Department of NearEastern Languages and Civilization, the Walter Chapin SimpsonCenter for the Humanities, the Henry M. Jackson School forInternational Studies, the Comparative Religion Program, the MiddleEast Studies Program, and the South Asian Studies Program. Aims of the WorkshopThe general aim of the workshop, discussing the integration of Islamicstudies into liberal arts curricula, can be divided into three areas. First,the workshop brought together about forty teachers and scholars, abouttwenty from the UW and twenty from across the United States andCanada. Most of these participants were professors teaching IslamicStudies or related discipliies at private and public colleges and Universities,although some secondary-level teachers also participated. The disciplinesrepresented ranged from religion, art history, geography, ethnomusicoIogy,history, comparative literahm, women’s studies, anthropology,biblical studies, and political science. This meeting allowed foropen cornmetion and the exchange of ideas among scholars who areotherwise separated from one another by institutional boundaries ...

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Silbergeld, Jerome. „Chinese Painting Studies in the West: A State-of-the-Field Article“. Journal of Asian Studies 46, Nr. 4 (November 1987): 849–97. http://dx.doi.org/10.2307/2057105.

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The contemporary study of Chinese painting history varies considerably according to cultural locus, be it mainland China, Taiwan, Hong Kong, Japan, or the West, making broad generalization about the state of the field quite difficult. Where the intellectual and social context of traditional East Asian culture remains most intact, the study of painting has perpetuated the concerns and modes of the thousandplus years of traditional historiography, yet this has become increasingly rare. In the People's Republic, innovation has come largely through Marxist influence, bringing a focus on social aspects of the art, but no systematic Marxist analysis has ever emerged and the influence of ideology is now noticeably on the wane. In the West, where most of those who study Chinese painting cannot themselves paint, do more than dabble in calligraphy, or lay claim to being part of the Chinese cultural elite, and where an understanding of the Chinese context cannot be taken for granted, the need for cross-cultural explanation has generated studies unique in character, blending sinology with Eurocentric art-historical questions and methods. This Western approach, with its skeptical analysis and egalitarian perspective, has provided new techniques of stylistic analysis for reevaluating the traditional dates and attributions of paintings and yielded a new, more objective basis for examining the theory, content, and sociocultural basis of Chinese painting.

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Clunas, Craig. „Jerome Silbergeld, Dora C.Y. Ching, Judith G. Smith and Alfreda Murck (eds): Bridges to Heaven: Essays on East Asian Art in Honor of Professor Wen C. Fong. (2 volumes.) xvi, 935 pp. Princeton, NJ: P.Y. and Kinmay W. Tang Center for East Asian Art, Department of Art and Archaeology, Princeton University in Association with Princeton University Press, 2011. £120. ISBN 978 0 691 15298 1.“ Bulletin of the School of Oriental and African Studies 76, Nr. 1 (Februar 2013): 174–75. http://dx.doi.org/10.1017/s0041977x12001784.

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Shackle, C. „Pramod Chandra: On the study of Indian art. (The Polsky Lectures in Indian and Southeast Asian Art and Archaeology.) [v], 134 pp., front., 11 plates Cambridge, Mass. and London: Harvard University Press, (for the Asia Society), 1983, £11.“ Bulletin of the School of Oriental and African Studies 48, Nr. 2 (Juni 1985): 428. http://dx.doi.org/10.1017/s0041977x00034418.

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Susette Min. „Entropic Designs: A Review of Maya Lin: Systematic Landscapes and Asian/American/Modern Art: Shifting Currents, 1900-1970 at the de Young Museum“. American Quarterly 61, Nr. 1 (2009): 193–215. http://dx.doi.org/10.1353/aq.0.0056.

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Solheim, Wilhelm G. „Archaeology and Anthropology in Southeast Asia“. Journal of Southeast Asian Studies 18, Nr. 2 (September 1987): 175–81. http://dx.doi.org/10.1017/s0022463400020488.

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I agreed in the fall of 1979 to be the guest editor of a special issue of the Journal of Southeast Asian Studies on the state of the art of archaeology and anthropology in Southeast Asia. This special issue was to be published in March 1984 and I was to have the papers to the editor by the 15th of October 1983; plenty of time I thought. I first attempted to get two senior American anthropologists to be associate editors, one for Mainland Southeast Asia and one for Island Southeast Asia. This did not work out so in the fall of 1980 I started to organize authors for each country. By the summer of 1981 I had arranged authors for thirteen reports.

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Kim, Christine. „Colonial Plunder and the Failure of Restitution in Postwar Korea“. Journal of Contemporary History 52, Nr. 3 (24.02.2017): 607–24. http://dx.doi.org/10.1177/0022009417692410.

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This article evaluates the US ‘Monuments Men’ operations in Korea, focusing on wartime and postwar efforts undertaken by the government of the USA to preserve and restore artwork seized by Japan. The Asian initiative, conceived a year after the European model was established, likewise drew upon cultural, intellectual, and academic resources. Yet fundamental differences in personnel, perceptions of Korean cultural backwardness, prevailing imperialist attitudes, and Cold War sensibilities rendered a very different kind of project. Ultimately the ‘Monuments Men’ succeeded primarily in preserving the cultural patrimony of Japan, but it failed to recover any plundered objects from Korea, or the rest of Asia for that matter. Focusing on the US deliberations regarding repatriation of Korean looted art, this article lays bare both the US preoccupation with maintaining the national interests of its newest ally, and exposes an understanding of East Asian cultural hierarchy that privileged Japan’s artistic achievement and modern society above all.

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Mohan, Urmila. „Clothing as Devotion in Contemporary Hinduism“. Brill Research Perspectives in Religion and the Arts 2, Nr. 4 (09.08.2018): 1–82. http://dx.doi.org/10.1163/24688878-12340006.

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AbstractIn Clothing as Devotion in Contemporary Hinduism, Urmila Mohan explores the materiality and visuality of cloth and clothing as devotional media in contemporary Hinduism. Drawing upon ethnographic research into the global missionizing group “International Society for Krishna Consciousness” (ISKCON), she studies translocal spaces of worship, service, education, and daily life in the group’s headquarters in Mayapur and other parts of India. Focusing on the actions and values of deity dressmaking, devotee clothing and paraphernalia, Mohan shows how activities, such as embroidery and chanting, can be understood as techniques of spirituality, reverence, allegiance—and she proposes the new term “efficacious intimacy” to help understand these complex processes. The monograph brings theoretical advances in Anglo-European material culture and material religion studies into a conversation with South Asian anthropology, sociology, art history, and religion. Ultimately, it demonstrates how embodied interactions as well as representations shape ISKCON’s practitioners as devout subjects, while connecting them with the divine and the wider community.

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Hall, Kenneth R. „Commodity Flows, Diaspora Networking, and Contested Agency in the Eastern Indian Ocean c. 1000–1500“. TRaNS: Trans -Regional and -National Studies of Southeast Asia 4, Nr. 2 (Juli 2016): 387–417. http://dx.doi.org/10.1017/trn.2016.21.

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AbstractRecent revisionist approaches to early pre-1500 eastern Indian Ocean history draw from and cross-reference epigraphic, archaeological, art historical, literary, cultural, textual, shipwreck, and a variety of other primary and secondary sources as these document the evolution of Southeast Asia from roughly 300 to 1500, before significant European regional presence became a factor. This study's focus is the transitional importance of c. 1000–1500 Indian Ocean international maritime trade and transit from the South Asian shorelines of the Bay of Bengal to the South China and Java Seas, which is conceived to have temporarily produced an inclusive eastern Indian Ocean zone of contact. In this then ‘borderless’ region there were a variety of meaningful contacts and material, cultural, and knowledge transfers that resulted in synthesis of Indian, Chinese, Middle Eastern, and Southeast Asian cultures and populations made possible by enhanced international maritime trade connections before European presence became a factor, a period often dated from the fall of Melaka to the Portuguese in 1511.

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Hall, Rebecca S. „Enlightened Ways: The Many Streams of Buddhist Art in Thailand. Edited by Heidi Tan. Singapore: Asian Civilisations Museum, 2012. 267 pp. ISBN 9789810746285 (cloth).“ Journal of Asian Studies 75, Nr. 1 (19.01.2016): 273–74. http://dx.doi.org/10.1017/s0021911815002016.

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Varenov, Andrey V. „Horsemen in Three-Horned Headdresses at Chinese Rock-Art Sites and Their Siberian and Central Asian Affinities“. Oriental Studies 19, Nr. 10 (2020): 35–49. http://dx.doi.org/10.25205/1818-7919-2020-19-10-35-49.

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Six horsemen and one standing man carved at the Wujiachuan rock-art site in the Gansu Province of China are wearing headdresses resembling a crown with three ‘horns’. The standing figure from Wujiachuan can also be perceived as a seated one if its very long, downward ‘arms’ are to be considered as the outline of a wide-brimmed robe, and the carved lines within it are the ‘real’ arms folded on the chest or on the stomach. This interpretation corresponds with ancient Turkic images of Gorny Altai and other regions. In the Kudyrge burial ground in Altai, a boulder was excavated, on which the so-called ‘knee bending scene’ was engraved. A seated woman in a three-horned headdress with a child is depicted, before whom three much smaller in size dismounted horsemen are bowing. The middle horseman is also wearing a three-horned headdress. Engraved images of women in three-horned headdresses were also met on rocks and bone artefacts from Kirgizia, Kazakhstan and Khakassia. P. P. Azbelev interprets the ‘knee bending scene’ from Kudyrge as a reflection of the Christian (Nestorian) narrative of worship of the Magi. It can be assumed that the horsemen in horned headdresses depicted at Wujiachuan, grouped in threes are rushing to worship the standing (or rather sitting) figure to their left also in a three-horned headdress. This personage, just like on the Kudyrge boulder, surpasses both riders and even their horses in height. Rock carvings of riders in three-horned headdresses have also been found in the Badain Jaran Desert in the west of Inner Mongolia and in Zhongwei County of the Ningxia Province. Wherever met, they mark the Ancient Turkic period.

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Hillenbrand, Margaret. „Murakami Haruki in Greater China: Creative Responses and the Quest for Cosmopolitanism“. Journal of Asian Studies 68, Nr. 3 (August 2009): 715–47. http://dx.doi.org/10.1017/s0021911809990039.

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The relationship between popular culture and East Asian identity is now an established field of enquiry, with the products of Japan's mass media industries—television series, pop stars, and manga—still providing much of the fuel for debate. This paper, however, moves away from the dominant notion of “culture as industry,” and explores animated personal responses to the fiction of Japanese writer Murakami Haruki in Hong Kong, China, and Taiwan through art house cinema, popular fiction, and online creative communities. The vogue for Murakami has swept across the region in recent years, and for many of those inspired by his work, it is Murakami's role as a conduit to cosmopolitan cultural citizenship that is so alluring. Yet rather than crude imitation, the filmmakers, writers, and Internet fans analyzed here misappropriate the “Murakami mood” in different ways, and in the process, they reveal the diverse meanings that attach to cosmopolitanism across contemporary East Asia.

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Knipe, David M. „Stalking the Sacrifice“. Journal of Asian Studies 45, Nr. 2 (Februar 1986): 355–58. http://dx.doi.org/10.2307/2055847.

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This two-volume study of a great Vedic sacrifice, the Agnicayana, or “piling of the fire altar,” accomplishes two ends. First, the work is detailed ethnographic coverage of the twelve-day Agnicayana performed by the Nambudiri Brahmin community in Panjal, Kerala, South India, in April 1975. Parts 2, 4, and 5 include episodic mantraby-mantra outlines of the ritual with translations of key texts, color photographs, line drawings, and maps; a glossary and bibliography are appended. Second, parts 1 and 3 together provide a mini-encyclopedia of current information about the context of Vedic ritual in general. Twenty-two articles take up essential aspects of South Asian prehistory, ancient history, architecture, art, symbolism, and music, as well as hermeneutical studies of Vedic tradition and the Agnicayana in particular. The volumes are aesthetically stunning, and they provide a benchmark for the interdisciplinary, multifaceted study of an historic religious phenomenon.