{"title":"Mao Zedong’s Bakhtinian laughter The Chinese pop avant-garde and its origins","authors":"Maciej Szatkowski, Hanna Kupś","doi":"10.15804/aoto2021012","DOIUrl":"https://doi.org/10.15804/aoto2021012","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133588810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Animal figures inspirations in contemporary Chinese art","authors":"Bogna Łakomska","doi":"10.15804/aoto202106","DOIUrl":"https://doi.org/10.15804/aoto202106","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117017308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Indian woman between ‘new’ tradition and ‘old’ patriarchy.Bengali painting in the service of nationalism","authors":"Dorota Kamińska-Jones","doi":"10.15804/aoto202101","DOIUrl":"https://doi.org/10.15804/aoto202101","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130152716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this article is to depict the transdisciplinary method of my authorship, developed while I was working on a dissertation in the field of the history of contemporary art. “Culture Trouble” is a paraphrase of the title of a book by Judith Butler.1) She discusses the impact of gender on an individual’s identity, while the aim of my research was to analyse the influence of native culture on the artwork of selected Chinese women. My research method is based mostly on those used in the classic history of art, but it also draws deeply form the sociology of culture. My main research tool, on the other hand, is Julia Kristeva’s theory of intertextuality.2) According to Kristeva, all cultural texts, including literary works, scientific studies, and works of art, are meeting points for various earlier ones. They all create specific mosaics composed of heritage – the elements of tradition, both material and immaterial – such as scroll painting and Taoist rituals. All texts exist in relation to other text and / or other kinds of human expression. That is the reason why not only the current political and social situation in the PRC, but also the knowledge of traditional culture, is so significant to read and interpret properly, and then talk about Chinese contemporary art.
{"title":"Culture Trouble: The Significance of Cultural Context in an Art Historian’s Research on Chinese Contemporary Art","authors":"Magdalena Furmanik-Kowalska","doi":"10.15804/aoto202104","DOIUrl":"https://doi.org/10.15804/aoto202104","url":null,"abstract":"The aim of this article is to depict the transdisciplinary method of my authorship, developed while I was working on a dissertation in the field of the history of contemporary art. “Culture Trouble” is a paraphrase of the title of a book by Judith Butler.1) She discusses the impact of gender on an individual’s identity, while the aim of my research was to analyse the influence of native culture on the artwork of selected Chinese women. My research method is based mostly on those used in the classic history of art, but it also draws deeply form the sociology of culture. My main research tool, on the other hand, is Julia Kristeva’s theory of intertextuality.2) According to Kristeva, all cultural texts, including literary works, scientific studies, and works of art, are meeting points for various earlier ones. They all create specific mosaics composed of heritage – the elements of tradition, both material and immaterial – such as scroll painting and Taoist rituals. All texts exist in relation to other text and / or other kinds of human expression. That is the reason why not only the current political and social situation in the PRC, but also the knowledge of traditional culture, is so significant to read and interpret properly, and then talk about Chinese contemporary art.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114339484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Chinese and Japanese characters in selected Polish mass, popular, orientalist and religious magazines published in the 1930S","authors":"Katarzyna Michalewicz","doi":"10.15804/aoto202103","DOIUrl":"https://doi.org/10.15804/aoto202103","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115413133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mao Zedong’s Bakhtinian laughter: The Chinese pop avant-garde and its origins","authors":"Maciej Szatkowski, Hanna Kupś","doi":"10.15804/aoto202105","DOIUrl":"https://doi.org/10.15804/aoto202105","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128446712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Starting with the oldest preserved monuments, depictions of animals used in a religious context are quite common in Indian art. For the record, two such main groups can be distinguished: 1. whole animal figures (copied in accordance with nature);1) 2. hybrid representations in which part of the image is human and part animal. Most often, in the latter case, the animal element is the head or face. An example is Varaha – one of the incarnations of Vishnu, undoubtedly the most widespread hybrid image in India (Fig. 1). In this analysis,2) however, I would like to focus on less popular fig-
{"title":"Goat-headed deities in ancient Indian sculpture","authors":"Agnieszka Staszczyk","doi":"10.15804/aoto202002","DOIUrl":"https://doi.org/10.15804/aoto202002","url":null,"abstract":"Starting with the oldest preserved monuments, depictions of animals used in a religious context are quite common in Indian art. For the record, two such main groups can be distinguished: 1. whole animal figures (copied in accordance with nature);1) 2. hybrid representations in which part of the image is human and part animal. Most often, in the latter case, the animal element is the head or face. An example is Varaha – one of the incarnations of Vishnu, undoubtedly the most widespread hybrid image in India (Fig. 1). In this analysis,2) however, I would like to focus on less popular fig-","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121264259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dogs have an ambivalent status in Indian culture. On the one hand, they were one of the first animals to be domesticated, since when they have been a regular companion of man. They are also a divine steed, a companion of the ascetics, and even the goddess Durga has been described as having a dog’s head. On the other hand, they are often viewed as an unclean creature that should not be kept in homes. Observing the streets of Indian cities, one may notice countless homeless dogs, which people do not usually treat in a particularly friendly way. So what is the truth about the dog’s role in India? This issue is quite complex and should be traced from a historical as well as topical perspective.
{"title":"Multiple roles of dogs in India – culture, art and the colonial context","authors":"Dorota Kamińska-Jones","doi":"10.15804/aoto202003","DOIUrl":"https://doi.org/10.15804/aoto202003","url":null,"abstract":"Dogs have an ambivalent status in Indian culture. On the one hand, they were one of the first animals to be domesticated, since when they have been a regular companion of man. They are also a divine steed, a companion of the ascetics, and even the goddess Durga has been described as having a dog’s head. On the other hand, they are often viewed as an unclean creature that should not be kept in homes. Observing the streets of Indian cities, one may notice countless homeless dogs, which people do not usually treat in a particularly friendly way. So what is the truth about the dog’s role in India? This issue is quite complex and should be traced from a historical as well as topical perspective.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"601 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132827816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The history of animal images in world art probably begins some 40,000 years ago in the Palaeolithic period. The figures of animals, or their stylised (more or less) patterns, once presented in the form of paintings and sculptures, made it possible to present various meanings and values. Learning about animals probably helped to understand many relationships in life, and thus to create a slightly clearer picture of the forces of nature. Since ancient times, the Chinese have been aware of the fundamental principles that govern all things, not only people but also animals and the heavens. They demonstrated this awareness through creative activity, an excellent example of which are figurines and patterns made of jades, as well as shells inspired by animal figures, made in the Neolithic times. This article is an attempt to read these meanings, which could also influence the perception of the world today.
{"title":"The meaning of animal motifs in Neolithic China based on examples of jade figurines and shell mosaics","authors":"Bogna Łakomska","doi":"10.15804/aoto202001","DOIUrl":"https://doi.org/10.15804/aoto202001","url":null,"abstract":"The history of animal images in world art probably begins some 40,000 years ago in the Palaeolithic period. The figures of animals, or their stylised (more or less) patterns, once presented in the form of paintings and sculptures, made it possible to present various meanings and values. Learning about animals probably helped to understand many relationships in life, and thus to create a slightly clearer picture of the forces of nature. Since ancient times, the Chinese have been aware of the fundamental principles that govern all things, not only people but also animals and the heavens. They demonstrated this awareness through creative activity, an excellent example of which are figurines and patterns made of jades, as well as shells inspired by animal figures, made in the Neolithic times. This article is an attempt to read these meanings, which could also influence the perception of the world today.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129568155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Animals, both real and mythical, frequently played the role of important motifs in painting and decorative forms in artistic crafts. Although it is possible to identify certain regional differences, these symbols convey very similar meanings throughout those parts of the Far East where Chinese cultural impact has been dominant for centuries. Due to its geographical proximity, Korea has also been distinctively influenced by the social, political, and cultural codes coming from mainland China. Long-term exposure to interactions with China led to Korea’s absorption of the Chinese ideographs which went on to become the lingua franca among East Asian elites. Adapting Chinese doctrines, such as Taoism and Confucianism, to Korean conditions sparked the emergence of a separate Korean system of thought. Wedged between native beliefs and royal favour bestowed by Joseon dynasty rulers, Neo-Confucianism in Korea evolved into a socio-political program unique among the thought systems of the world. Therefore, the animal motifs encountered in Korean arts and crafts can only be interpreted in the context of the ideology that had exerted such a profound influence on the visual culture of the time.
{"title":"Animal motifs representing sipjangsaeng (longevity) and samgang oryun (basic virtues of Neo-Confucian social ethics) in the furniture and decor of a traditional Korean house","authors":"Z. Krzysztofik","doi":"10.15804/aoto202004","DOIUrl":"https://doi.org/10.15804/aoto202004","url":null,"abstract":"Animals, both real and mythical, frequently played the role of important motifs in painting and decorative forms in artistic crafts. Although it is possible to identify certain regional differences, these symbols convey very similar meanings throughout those parts of the Far East where Chinese cultural impact has been dominant for centuries. Due to its geographical proximity, Korea has also been distinctively influenced by the social, political, and cultural codes coming from mainland China. Long-term exposure to interactions with China led to Korea’s absorption of the Chinese ideographs which went on to become the lingua franca among East Asian elites. Adapting Chinese doctrines, such as Taoism and Confucianism, to Korean conditions sparked the emergence of a separate Korean system of thought. Wedged between native beliefs and royal favour bestowed by Joseon dynasty rulers, Neo-Confucianism in Korea evolved into a socio-political program unique among the thought systems of the world. Therefore, the animal motifs encountered in Korean arts and crafts can only be interpreted in the context of the ideology that had exerted such a profound influence on the visual culture of the time.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115003426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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