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Journal articles on the topic 'Sculpture, Indic, in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Mukherjee, Sayan. "Dark Portrayal of Gender: A Post-colonial Feminist Reflection of Bapsi Sidhwa’s The Pakistani Bride and The Ice-candy Man." History Research Journal 5, no. 5 (September 26, 2019): 81–88. http://dx.doi.org/10.26643/hrj.v5i5.7919.

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The portrayals of women by fiction writers of Indian sub-continent can be seen in the context of postcolonial feminism. Sidhwa’s novels may be a part of postcolonial fiction, which is fiction produced mostly in the former British colonies. As Bill Ashcroft suggests in The Empire Writes Back, the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the literatures produced in these areas are mostly a reaction against the negative portrayals of the local culture by the colonizers. About the role of postcolonial literature with respect to feminism, Ashcroft writes, “Literature offers one of the most important ways in which these new perceptions are expressed and it is in their writings and through other arts such as paintings sculpture, music, and dance that today realities experienced by the colonized peoples have been most powerfully encoded and so profoundly influential.” Indian sub-continent fiction is the continuation and extension of the fiction produced under the colonial rulers in undivided India. As such it has inherited all the pros and cons of the fiction in India before the end of colonial rule in Indo-Pak. Feminism has been one part of this larger body of literature. Sidhwa has portrayed the lives of Pakistani women in dark shades under the imposing role of religious, social, and economic parameters. These roles presented in The Pakistani Bride and The Ice-Candy Man are partly traditional and partly modern – the realities women face.

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2

Das, Rahul. "THE ROLE OF HINDUISM AND BUDDHISM IN PROMOTING INDIANNESS OUTSIDE INDIA: SCENARIOS OF SOUTHEAST ASIA." International Journal of Research -GRANTHAALAYAH 8, no. 5 (June 4, 2020): 179–86. http://dx.doi.org/10.29121/granthaalayah.v8.i5.2020.147.

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Hinduism or Sanatana Dharma is considered to be the oldest religion in the world (Fowler 1997, p1). This religion originated in India. Similarly, India is also the birthplace of Buddhism. Apart from trade, religion was one of the means of inter-state communication and proximity in ancient times. It is through religion, ancient Indian civilization developed good relations and closeness with different parts of the world, one of which was Southeast Asia. Though Marx opined “Die Religion……ist das opium des volkes” or “religion…..is the opium of people”, but the positive role of religion cannot be denied in this case. Hinduism and Buddhism were the main driving force behind the Indianization or Sanskritization of Southeast Asian States. Buddhism and Hinduism are still among the most prevalent religions in this region, despite the subsequent large-scale conversion to Christianity and Islam. The influence of Indianness is evident in all the areas of this region, including ancient architecture, sculpture, art, painting, literature, language, script, lifestyle etc. These religions have never been limited to personal sphere of inhabitants of this region but have also flourished in the political and social spheres. These religions have sometimes been instrumental in unravelling colonial chains and sometimes in nation-building efforts. At present, the Government of India is very keen on finding the roots of ancient historical ties in establishing close bilateral relations with various countries, from that point of view, this following article will be considered very relevant.

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3

Kang, Manpreet Kaur. "Bharatanatyam as a Transnational and Translocal Connection: A Study of Selected Indian and American Texts." Review of International American Studies 13, no. 2 (December 31, 2020): 61–86. http://dx.doi.org/10.31261/rias.9884.

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Bharatanatyam is a classical dance form derived from ancient dance styles, which is now seen as representative of Indian culture. In India, it is the most popular classical dance form exerting a great impact not only on the field of dance itself, but also on other art forms, like sculpture or painting. The Indian-American diaspora practices it both in an attempt to preserve its culture and as an assertion of its cultural identity. Dance is an art form that relates to sequences of body movements that are simultaneously aesthetic and symbolic, and rooted in specific cultures. It often tells a story. Different cultures observe different norms and standards by which dances should be performed (as well as by whom they should be performed and on what occasions). At the same time, dance and dancers influence (and are influenced by) different cultures as a result of transcultural interactions. Priya Srinivasan’s Sweating Saris: Indian Dance as Transnational Labor is a particularly valuable source wherein its author critically examines a variety of Indian dance forms, especially Bharatanatyam, tracing the history of dance as well as the lived experience of dancers across time, class, gender, and culture. With the help of this text, selected journal articles, and interviews with Bharatanatyam dancers in India and the US, I explore larger issues of gender, identity, culture, race, region, nation, and power dynamics inherent in the practice of Bharatanatyam, focusing on how these practices influence and, in turn, are influenced by transnational and translocal connections.

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4

Aeschliman, Michael. "Cultural tourism as pilgrimage." Semiotica 2018, no. 225 (November 6, 2018): 245–52. http://dx.doi.org/10.1515/sem-2016-0230.

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AbstractIn this recent address to a UNESCO doctoral summer school in northern Italy, the author argues that all cultural tourism has underlying and implicit philosophical-religious dimensions that are particularly important in the era of “late capitalism,” in which “the idiosyncratic has triumphed over the normative” and there is a deeply nihilistic drive and trajectory to the ascendant culture. After drawing on the sociologist Daniel Bell’s analysis of “the cultural contradictions of capitalism,” the author argues that there is an irreducible sacred dimension to the human person (res sacra homo) and his or her life always has the character of a pilgrimage, cognitively comprised of a quest for significance beyond the separate meanings of the normal occupational and utilitarian life. Master-works of urbanism, architecture, sculpture, painting, music, and literature offset the nihilistic dynamic of “late modernity,” and the author draws particular attention to literary works of cross-cultural understanding such as the trilogy of historical novels about India by L. H. Myers, The Root and the Flower and the novels of the great modern Japanese writer Shusaku Endo. As works of fundamental importance for orienting his analysis he adduces C. S. Lewis’s The Abolition of Man and Viktor Frankl’s Man’s Search for Meaning.

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5

Slaczka, Anna, Sara Creange, and Joosje Van Bennekom. "Nataraja Informed through Text and Technique." Rijksmuseum Bulletin 67, no. 1 (March 15, 2019): 5–29. http://dx.doi.org/10.52476/trb.9714.

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The imposing Chola-period bronze Shiva Nataraja at the Rijksmuseum is a product of the living tradition of metal casting established over a thousand years ago in the region of Tamil Nadu. Purchased in 1935 from a Parisian dealer, it is one of the highlights of the collection belonging to the Royal Asian Art Society in the Netherlands, which is exhibited at the Rijksmuseum. The interdisciplinary study presented here links an art historical investigation of ancient texts and scholarly literature with scientific analysis in an attempt to refine the art historical context and at the same time flesh out what is known about the fabrication and provenance of the Nataraja in the Rijksmuseum. The Nataraja was cast by the lost-wax method; x-ray images confirm that the Shiva is solid-cast together with the halo. X-ray fluorescence reveals an alloy consistent with other Chola-period bronzes but not necessarily a pañcaloha alloy (five metals), which seems to be a modern tradition; the front hands were apparently cast on separately as a repair, probably during casting or not long after. Further evidence gathered from the sculpture and its soil encrustations (ICP-MS lead and neodymium isotope ratios, SEM-EDX and XRD) is briefly presented, and supports earlier assumptions about the Nataraja. It appears to date from the twelfth century and was under worship for a relatively short time before it was buried at an unknown location in India. The presence of Indian earth and corrosion products typical of burial imply that it did not re-enter a temple context for worship and was not subject to major restoration before entering the art market in the early twentieth century.

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6

KITLV, Redactie. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 1 (2008): 134–220. http://dx.doi.org/10.1163/22134379-90003683.

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Michele Stephen; Desire, divine and demonic; Balinese mysticism in the paintings of I Ketut Budiana and I Gusti Nyoman Mirdiana (Andrea Acri) John Lynch (ed.); Issues in Austronesian historical phonology (Alexander Adelaar) Alfred W. McCoy; The politics of heroin; CIA complicity in the global drug trade (Greg Bankoff) Anthony Reid; An Indonesian frontier; Acehnese and other histories of Sumatra (Timothy P. Barnard) John G. Butcher; The closing of the frontier; A history of the maritime fisheries of Southeast Asia c. 1850-2000 (Peter Boomgaard) Francis Loh Kok Wah, Joakim Öjendal (eds); Southeast Asian responses to globalization; Restructuring governance and deepening democracy (Alexander Claver) I Wayan Arka; Balinese morpho-syntax: a lexical-functional approach (Adrian Clynes) Zaharani Ahmad; The phonology-morphology interface in Malay; An optimality theoretic account (Abigail C. Cohn) Michael C. Ewing; Grammar and inference in conversation; Identifying clause structure in spoken Javanese (Aone van Engelenhoven) Helen Creese; Women of the kakawin world; Marriage and sexuality in the Indic courts of Java and Bali (Amrit Gomperts) Ming Govaars; Dutch colonial education; The Chinese experience in Indonesia, 1900-1942 (Kees Groeneboer) Ernst van Veen, Leonard Blussé (eds); Rivalry and conflict; European traders and Asian trading networks in the 16th and 17th centuries (Hans Hägerdal) Holger Jebens; Pathways to heaven; Contesting mainline and fundamentalist Christianity in Papua New Guinea (Menno Hekker) Ota Atsushi; Changes of regime and social dynamics in West Java; Society, state and the outer world of Banten, 1750-1830 (Mason C. Hoadley) Richard McMillan; The British occupation of Indonesia 1945-1946; Britain, the Netherlands and the Indonesian Revolution (Russell Jones) H.Th. Bussemaker; Bersiap! Opstand in het paradijs; De Bersiapperiode op Java en Sumatra 1945-1946 (Russell Jones) Michael Heppell; Limbang anak Melaka and Enyan anak Usen, Iban art; Sexual selection and severed heads: weaving, sculpture, tattooing and other arts of the Iban of Borneo (Viktor T. King) John Roosa; Pretext for mass murder; The September 30th Movement and Suharto’s coup d’état in Indonesia (Gerry van Klinken) Vladimir Braginsky; The heritage of traditional Malay literature; A historical survey of genres, writings and literary views (Dick van der Meij) Joel Robbins, Holly Wardlow (eds); The making of global and local modernities in Melanesia; Humiliation, transformation and the nature of cultural change (Toon van Meijl) Kwee Hui Kian; The political economy of Java’s northeast coast c. 1740-1800; Elite synergy (Luc Nagtegaal) Charles A. Coppel (ed.); Violent conflicts in Indonesia; Analysis, representation, resolution (Gerben Nooteboom) Tom Therik; Wehali: the female land; Traditions of a Timorese ritual centre (Dianne van Oosterhout) Patricio N. Abinales, Donna J. Amoroso; State and society in the Philippines (Portia L. Reyes) Han ten Brummelhuis; King of the waters; Homan van der Heide and the origin of modern irrigation in Siam (Jeroen Rikkerink) Hotze Lont; Juggling money; Financial self-help organizations and social security in Yogyakarta (Dirk Steinwand) Henk Maier; We are playing relatives; A survey of Malay writing (Maya Sutedja-Liem) Hjorleifur Jonsson; Mien relations; Mountain people and state control in Thailand (Nicholas Tapp) Lee Hock Guan (ed.); Civil society in Southeast Asia (Bryan S. Turner) Jan Mrázek; Phenomenology of a puppet theatre; Contemplations on the art of Javanese wayang kulit (Sarah Weiss) Janet Steele; Wars within; The story of Tempo, an independent magazine in Soeharto’s Indonesia (Robert Wessing) REVIEW ESSAY Sean Turnell; Burma today Kyaw Yin Hlaing, Robert Taylor, Tin Maung Maung Than (eds); Myanmar; Beyond politics to societal imperatives Monique Skidmore (ed.); Burma at the turn of the 21st century Mya Than; Myanmar in ASEAN In: Bijdragen tot de Taal-, Land- en Volkenkunde no. 163 (2007) no: 1, Leiden

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7

Diao, Runqing. "Sculpture." Anthropology and Humanism 38, no. 2 (December 2013): 204. http://dx.doi.org/10.1111/anhu.12021.

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8

Silk, Jonathan A. "A Brief Introduction to Recent Chinese Studies on Sanskrit and Khotanese (Chiefly Buddhist) Literature." Indo-Iranian Journal 64, no. 1 (March 29, 2021): 51–64. http://dx.doi.org/10.1163/15728536-06401002.

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Abstract The past decade has seen the appearance of a number of Chinese publications relevant to the readership of the Indo-Iranian Journal. This article briefly introduces some of those publications, dealing mostly with Buddhist sources, primarily in Sanskrit, Khotanese and Middle Indic.

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9

Judge. "The Invisible Hand of the Indic." Cultural Critique 110 (2021): 75. http://dx.doi.org/10.5749/culturalcritique.110.2021.0075.

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10

Hannoosh, Michele. "Delacroix and Sculpture." Nineteenth Century French Studies 35, no. 1 (2006): 95–109. http://dx.doi.org/10.1353/ncf.2006.0046.

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11

Sheedy, Kenneth. "LIMESTONE SCULPTURE." Classical Review 54, no. 2 (October 2004): 542–44. http://dx.doi.org/10.1093/cr/54.2.542.

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12

Wright, Barbara. "Sculpture et poétique: Sculpture and Literature in France, 1789-1859 (review)." Nineteenth-Century French Studies 36, no. 3-4 (2008): 339–40. http://dx.doi.org/10.1353/ncf.0.0007.

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13

Eisenlauer, J. S. Noble, and Elizabeth Baquedano. "Aztec Sculpture." African Arts 18, no. 4 (August 1985): 95. http://dx.doi.org/10.2307/3336274.

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14

Zeidler, Sebastian. "Negro Sculpture." October 107 (January 2004): 122–38. http://dx.doi.org/10.1162/016228704322790935.

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15

Swensen, Cole. "The Hand, as Sculpture." Chicago Review 47, no. 2 (2001): 44. http://dx.doi.org/10.2307/25304742.

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16

Brockington, Mary. "The Indic Version ofThe Two Brothersand Its Relationship to theRāmāyana." Fabula 36, no. 3-4 (January 1995): 259–72. http://dx.doi.org/10.1515/fabl.1995.36.3-4.259.

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17

Menadier, B. "Hellenistic Architectural Sculpture." Classical Review 49, no. 1 (April 1999): 212–14. http://dx.doi.org/10.1093/cr/49.1.212.

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18

Stafford, Emma J. "STYLES IN SCULPTURE." Classical Review 52, no. 1 (March 2002): 109–11. http://dx.doi.org/10.1093/cr/52.1.109.

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19

Arafat, K. W. "Sources for Sculpture." Classical Review 55, no. 1 (March 2005): 334–35. http://dx.doi.org/10.1093/clrevj/bni183.

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20

Moran, Margaret, and Cleo McNelly Kearns. "T. S. Eliot and Indic Traditions: A Study in Poetry and Belief." American Literature 61, no. 1 (March 1989): 136. http://dx.doi.org/10.2307/2926546.

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21

Perry, John Oliver, and Cleo McNelly Kearns. "T. S. Eliot and Indic Traditions: A Study in Poetry and Belief." World Literature Today 62, no. 2 (1988): 340. http://dx.doi.org/10.2307/40143774.

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22

McNaughton, Patrick R. "African Borderland Sculpture." African Arts 20, no. 4 (August 1987): 76. http://dx.doi.org/10.2307/3336638.

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23

ROLLER, Lynn E. "Early Phrygian Sculpture." Ancient Near Eastern Studies 45 (December 31, 2008): 188–201. http://dx.doi.org/10.2143/anes.45.0.2033170.

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24

Berns, Marla. "Sculpture of Northeastern Nigeria." African Arts 18, no. 4 (August 1985): 89. http://dx.doi.org/10.2307/3336268.

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25

Patton, Sharon F. "Zimbabwe Contemporary Stone Sculpture." African Arts 19, no. 1 (November 1985): 78. http://dx.doi.org/10.2307/3336389.

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26

Ezra, Kate. "Sculpture of the Bamana." African Arts 20, no. 2 (February 1987): 72. http://dx.doi.org/10.2307/3336610.

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27

Calè, Luisa, and Stefano Evangelista. "Introduction: literature and sculpture at the fin de siècle." Word & Image 34, no. 1 (January 2, 2018): 1–6. http://dx.doi.org/10.1080/02666286.2017.1330092.

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28

Wagner, Anne M. "Nauman's Body of Sculpture." October 120 (April 2007): 53–70. http://dx.doi.org/10.1162/octo.2007.120.1.53.

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29

W Arafat, K. "Review. Archaic sculpture. The archaic style in Greek sculpture. Second edition. B S Ridgway." Classical Review 46, no. 2 (February 1, 1996): 340–41. http://dx.doi.org/10.1093/cr/46.2.340.

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30

Rajarajan, R. K. K. "Sempiternal ‘Pattiṉi’: Archaic Goddess of the Vēṅkai-tree to Avant-garde Acaṉāmpikai." Studia Orientalia Electronica 8, no. 1 (August 21, 2020): 120–44. http://dx.doi.org/10.23993/store.84803.

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A seal of the Indic culture represents a goddess standing close to a tree and receiving sacrifices. Seven more goddesses, hypothetically the Ēḻukaṉṉimār or Sapta Mātṛkā, are linked with the Tree Goddess. The ancient Tamil Caṅkam literature, the Naṟṟiṇai and Cilappatikāram (c.450 ce), mention a goddess of the vēṅkai tree, the Vēṅkaik-kaṭavuḷ. In Tiṭṭakuṭi in south Ārkkāṭu district is located a temple dedicated to Vaidhyanāthasvāmi, the goddess called Acaṉāmpikai or Vēṅkai-vaṉanāyaki (cf. Dārukavana or Vaiṣṇava divyadeśa-Naimisāraṇya). The presiding goddess of Tiṭṭakuṭi, according to the sthalapurāṇam, based on oral tradition (twelfth to eighteenth centuries), is the “Mistress of the vēṅkai forest”. Alternatively, in Caṅkiliyāṉpāṟai (Tiṇṭukkal district) located in the foothills of Ciṟumalai, the Sañjīvi-parvata (‘hill of medicinal herbs and trees’) associated with Hanūmān of Rāmāyaṇa fame is a centre of folk worship. Recently, scholars claim to have discovered some pictographic inscriptions there resembling the Indic heritage. Several hypaethral temples to Caṅkili-Kaṟuppaṉ (‘The Black One Bound with an Iron Chain’), the Ēḻukaṉṉimār (‘Seven Virgins’), and the [Ārya]-Śāsta (equated with Ayyappaṉ of Śabarimalā) receive worship. On certain occasions, people from the nearby villages congregate to worship the gods and goddesses and undertake periodical and annual festivals. It seems that a “sacred thread” links the archaic traditions of the Indic culture (c.2500 bce) with the contemporary faiths (see Eliade 1960; Brockington 1998; Shulman & Stroumsa 2002) of Tiṭṭakuṭi and Caṅkiliyāṉpāṟai. This article examines the story of the Tree Goddess, the neo-divinity (vampat-teyvam) or numen (cf. Vedic devamātṛ-Aditi), with references to the Caṅkam lore, datable to the third century bce (cf. “Chōḍa Pāḍā Satiyaputo Ketalaputo” in Aśoka’s Girnar Edict; cf. Mookerji 1972: 223), Vēṅkaikkaṭavuḷ, Acaṉāmpikai of Tiṭṭakuṭi, and the Caṅkiliyāṉpāṟai vestiges.

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31

Read, Peter. "Apollinaire critique d'art : la sculpture en question." Cahiers de l'Association internationale des études francaises 47, no. 1 (1995): 405–20. http://dx.doi.org/10.3406/caief.1995.1885.

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32

Roulin, Jean-Marie. "Chateaubriand, ou les espaces de la sculpture." Nineteenth Century French Studies 35, no. 1 (2006): 74–94. http://dx.doi.org/10.1353/ncf.2006.0054.

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33

Volker, Kerstin. "Tanzania: Masterworks of African Sculpture." African Arts 28, no. 1 (1995): 84. http://dx.doi.org/10.2307/3337256.

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34

Adams, Monni, and Dunja Hersak. "Songye Masks and Figure Sculpture." African Arts 21, no. 4 (August 1988): 17. http://dx.doi.org/10.2307/3336737.

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35

Burr, Tom. "sculpture in a constricted space." October 120 (April 2007): 138–39. http://dx.doi.org/10.1162/octo.2007.120.1.138.

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36

Dillon, Sheila. "SCULPTURE IN THE FIRST CENTURY B.C." Classical Review 54, no. 1 (April 2004): 229–30. http://dx.doi.org/10.1093/cr/54.1.229.

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37

Babic, Valentina. "The sculpture of the church of the holy virgin of the Studenica Monastery. Origin and models." Zograf, no. 43 (2019): 89–112. http://dx.doi.org/10.2298/zog1943089b.

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The paper deals with the architectural sculpture of the twelfth century Church of the Holy Virgin at the Studenica Monastery. Its parallels with Italian Romanesque sculpture have long been identified in academic literature, and attention has been drawn to the influence of classical sculpture, mostly in terms of style, which has been attributed to the impact of Byzantine art. The paper demonstrates that all the motifs present in Studenica?s sculptural decoration originate from Romanesque sculpture in the Italian regions of Emilia Romagna and Apulia. Most of them rely on ancient Roman models and the motif known as peopled or inhabited scrolls is dominant among them.

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38

Hart, Jonathan Locke. "Michelangelo’s Sculpture: Selected Essays." Renaissance and Reformation 42, no. 2 (October 24, 2019): 252–54. http://dx.doi.org/10.7202/1065158ar.

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39

Zilberg, Jonathan. "Shona Sculpture and documenta 11." Matatu 25, no. 1 (December 7, 2002): 101–23. http://dx.doi.org/10.1163/18757421-90000422.

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40

Hamrick, Lois Cassandra Streett. "Baudelaire et la sculpture ennuyeuse de son temps." Nineteenth Century French Studies 35, no. 1 (2006): 110–31. http://dx.doi.org/10.1353/ncf.2006.0045.

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41

Joshi, Shobhana. ""RANGA IN LITERATURE"." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3612.

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The whole of nature and human society; The sensitive creator, living between them, connects their relationship with them, taking experience. A world of its own emotions and thoughts, of dreams and fantasies, of hopes and aspirations is created, which is internal. With his keen desire for expression, he chooses some medium for communication. This medium can be painting, music, sculpture, literature, anything. But the medium of every art is different and in every medium there is autonomy of expression. The color-line shape in the picture, the melody-rhythm in music, the word-symbol in poetry, the myth, the sign, the shape-formation is predominant in sculpture. But in spite of all this, the artist, the creator, while being in his own medium by default and trespassing, also passes through the galleries of any other genre and enriches his art. सम्पूर्ण प्रकृति और मनुष्य समाज; संवेदनशील रचनाकार इन दोनों के बीच रहते हुए, इनसे अपने रिश्ते जोड़ता है, अनुभव लेता है। उसका अपना भावों और विचारांे का, सपनों और कल्पनाओं का, आशा और आकांक्षाओं का, एक संसार निर्मित होता है, जो आंतरिक होता है। इसकी अभिव्यक्ति की प्रखर अभिलाषा के साथ वह कोई माध्यम सम्प्रेषण के लिये चुनता है। यह माध्यम चित्रकला, संगीतकला, मूर्तिकला, साहित्य कुछ भी हो सकता है। पर हर कला का माध्यम भिन्न होता है और हर माध्यम में अभिव्यक्ति की स्वायŸाता होती है। चित्र में रंग-रेखा आकार, संगीत में स्वर-ताल-लय, काव्य में शब्द-प्रतीक, मिथक, संकेत तो मूर्Ÿिा में आकार-गठन प्रधान है। पर इस सबके बावजूद भी कलाकार, रचनाकार व्यतिक्रम और अतिक्रम कर अपने ही माध्यम में रहते हुए भी किसी अन्य विधा की वीथियों से भी गुजरता है और अपनी कला को समृद्ध करता है।

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42

Juan, Wu. "Mechanisms of Contact-Induced Linguistic Creations in Chinese Buddhist Translations." Acta Orientalia Academiae Scientiarum Hungaricae 73, no. 3 (October 31, 2020): 385–418. http://dx.doi.org/10.1556/062.2020.00017.

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ABSTRACTWhile it has long been noted that Chinese Buddhist translations contain many new lexical and syntactic elements that were created due to the contact between Indic and Chinese languages during the translation process, few attempts have been made to systematically explore the major mechanisms of such contact-induced creations. This paper examines six mechanisms of contact-induced lexical creations and three mechanisms of contact-induced syntactic creations in Chinese Buddhist translations. All of these mechanisms have parallels in non-Sinitic language contacts. The parallels demonstrate that Chinese Buddhist translations and non-Sinitic language contacts show striking similarities in the ways in which they brought about new lexical and syntactic elements.

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43

Herzfeld, Michael. "Serendipitous Sculpture: Ethnography Does as Ethnography Goes." Anthropology and Humanism 39, no. 1 (June 2014): 3–9. http://dx.doi.org/10.1111/anhu.12031.

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44

Ezra, Kate. "Mother and Child in African Sculpture." African Arts 20, no. 4 (August 1987): 81. http://dx.doi.org/10.2307/3336641.

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45

van Beek, Walter E. A. "Functions of Sculpture in Dogon Religion." African Arts 21, no. 4 (August 1988): 58. http://dx.doi.org/10.2307/3336747.

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46

Rothwell, Andrew, Keith Aspley, Elizabeth Cowling, and Peter Sharratt. "From Rodin to Giacometti. Sculpture and Literature in France 1880-1950." Modern Language Review 96, no. 2 (April 2001): 517. http://dx.doi.org/10.2307/3737414.

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47

Cheeke, Stephen. "Romantic Hellenism, sculpture and Rome." Word & Image 25, no. 1 (March 2009): 1–10. http://dx.doi.org/10.1080/02666280802260165.

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48

Dragoni, Federico, Niels Schoubben, and Michaël Peyrot. "The Formal Kharoṣṭhī script from the Northern Tarim Basin in Northwest China may write an Iranian language." Acta Orientalia Academiae Scientiarum Hungaricae 73, no. 3 (October 31, 2020): 335–73. http://dx.doi.org/10.1556/062.2020.00015.

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ABSTRACTBuilding on collaborative work with Stefan Baums, Ching Chao-jung, Hannes Fellner and Georges-Jean Pinault during a workshop at Leiden University in September 2019, tentative readings are presented from a manuscript folio (T II T 48) from the Northern Tarim Basin in Northwest China written in the thus far undeciphered Formal Kharoṣṭhī script. Unlike earlier scholarly proposals, the language of this folio cannot be Tocharian, nor can it be Sanskrit or Middle Indic (Gāndhārī). Instead, it is proposed that the folio is written in an Iranian language of the Khotanese-Tumšuqese type. Several readings are proposed, but a full transcription, let alone a full translation, is not possible at this point, and the results must consequently remain provisional.

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Browne, Ray B. "Washington Sculpture: ACultural History of Outdoor Sculpture in the Nation's Capitol by James M. Goode." Journal of American Culture 32, no. 2 (June 2009): 186. http://dx.doi.org/10.1111/j.1542-734x.2009.00707_33.x.

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Hand, Seán. "Home: Reading the Sculpture of Roger Perkins." Paragraph 26, no. 3 (November 2003): 13–33. http://dx.doi.org/10.3366/para.2003.26.3.13.

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