{"title":"Romantic Encounter and Urban Space","authors":"Yi Wang","doi":"10.15804/aoto201502","DOIUrl":"https://doi.org/10.15804/aoto201502","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"232 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115881672","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}
n 2003 Wang Qingsong commented on one of his work in this way: “China Mansion summarizes my perception of Chinese social reality during the current stage of globalisation. China has been very enthusiastic about inviting foreign experts in economy, technology, architecture, and culture to give support and guidance to its modernisation programs. These foreign specialists help to create economic opportunities and introduce alternative systems of thought to China. However, the cultural clash creates social contradictions”.1) This paper concerns artworks by the aforementioned artist, who was born in 1966 in Daqing (Heilongjiang Province). As he said in the previously quoted sentence, his art depicts a reflection on the relation between culture and globalisation, as well as the impact of globalisation on culture, especially Chinese. Globalisation is the abolition of the spatial distance and the introduction of the world into a state of mobility, as described by Grzegorz Dziamski – Polish art critic and historian. Mobility is the ethnical, technological, financial, ideological and media including images providing different narratives.2) But how has the artist illustrated his attitude? What kind of artistic strategy has he used? At first, he adopted an aesthetic of “camp”, which was described by Susan Sontag in “Notes on Camp” (1964) as a kind of sensitivity, features of which are artificiality, theatricality, irony, distance, exaggeration, extravagance, and
2003年，王庆松这样评价他的一件作品:“《中国大厦》总结了我对当前全球化阶段中国社会现实的看法。中国一直非常热情地邀请经济、技术、建筑和文化方面的外国专家来支持和指导中国的现代化建设。这些外国专家帮助创造了经济机会，并向中国介绍了不同的思想体系。1)本文涉及的是前述艺术家的作品，他出生于1966年的黑龙江大庆。正如他在前面引用的那句话中所说，他的艺术描绘了对文化与全球化关系的反思，以及全球化对文化，尤其是中国文化的影响。正如波兰艺术评论家和历史学家Grzegorz Dziamski所描述的那样，全球化是空间距离的废除和世界进入流动状态的引入。流动是种族的、技术的、金融的、意识形态的、媒介的，包括影像提供了不同的叙事。2)但是艺术家是如何表达他的态度的?他使用了什么样的艺术策略?起初，他采用了一种“坎普”美学，苏珊·桑塔格在《坎普笔记》(Notes on camp, 1964)中将其描述为一种敏感，其特征是人为的、戏剧性的、反讽的、距离感的、夸张的、铺张的、夸张的
{"title":"Culture and Globalisation in Wang Qingsong’s Photography","authors":"Magdalena Furmanik-Kowalska","doi":"10.15804/aoto201510","DOIUrl":"https://doi.org/10.15804/aoto201510","url":null,"abstract":"n 2003 Wang Qingsong commented on one of his work in this way: “China Mansion summarizes my perception of Chinese social reality during the current stage of globalisation. China has been very enthusiastic about inviting foreign experts in economy, technology, architecture, and culture to give support and guidance to its modernisation programs. These foreign specialists help to create economic opportunities and introduce alternative systems of thought to China. However, the cultural clash creates social contradictions”.1) This paper concerns artworks by the aforementioned artist, who was born in 1966 in Daqing (Heilongjiang Province). As he said in the previously quoted sentence, his art depicts a reflection on the relation between culture and globalisation, as well as the impact of globalisation on culture, especially Chinese. Globalisation is the abolition of the spatial distance and the introduction of the world into a state of mobility, as described by Grzegorz Dziamski – Polish art critic and historian. Mobility is the ethnical, technological, financial, ideological and media including images providing different narratives.2) But how has the artist illustrated his attitude? What kind of artistic strategy has he used? At first, he adopted an aesthetic of “camp”, which was described by Susan Sontag in “Notes on Camp” (1964) as a kind of sensitivity, features of which are artificiality, theatricality, irony, distance, exaggeration, extravagance, and","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115568188","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":"Representation and Significance of Animals and Birds in Temple Art: A Case Study of Paramara Temples","authors":"N. Rathore","doi":"10.15804/aoto202206","DOIUrl":"https://doi.org/10.15804/aoto202206","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114285057","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":"Japonsche rocken as an expression of fashion depicted in painting in the Golden Age of the Dutch East India Company","authors":"D. Zasławska","doi":"10.15804/aoto201304","DOIUrl":"https://doi.org/10.15804/aoto201304","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127010617","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}
Each year the set of texts dealing with Western influences on Eastern art becomes bigger and bigger, owing to the contributions of both European and Asian scholars. Unfortunately, the considerable outgrowth of these writings is rarely accompanied by methodological considerations of how to research into the visual similarities between Western and non-Western artworks. In an attempt to fill this gap, this paper examines the main theoretical aspects and challenges of studying Asian art which seem to be based on European architecture, sculpture and painting. The first part of this paper examines how contemporary art historians determine the very existence of ‘influences’ between artworks. Later on, it is explained how intertextual and post-colonial studies have changed the way art history views the impact of one artwork on another. Having discussed these revisions to our discipline, I ask the question how to pinpoint references of Asian artworks to Western ones, if there is no data about their authors (their education, travels, personal contacts with foreign artists etc.) or the reproductions and replicas of European pictures. Additionally, I raise the issue of the artist’s intention (i.e. if quotations from, and allusions to Western artworks are always conscious and intended). Another issue, which recurs throughout the whole paper, is whether conceptual schemata from Western academia allow art historians to understand and explain Asian art better or whether they just lead to interpretive abuse. The final paragraphs offer some concluding remarks.
{"title":"Problem wpływu – jak badać podobieństwa wizualne między sztuką Zachodu i Wschodu? .","authors":"Katarzyna Kleiber","doi":"10.15804/aoto201201","DOIUrl":"https://doi.org/10.15804/aoto201201","url":null,"abstract":"Each year the set of texts dealing with Western influences on Eastern art becomes bigger and bigger, owing to the contributions of both European and Asian scholars. Unfortunately, the considerable outgrowth of these writings is rarely accompanied by methodological considerations of how to research into the visual similarities between Western and non-Western artworks. In an attempt to fill this gap, this paper examines the main theoretical aspects and challenges of studying Asian art which seem to be based on European architecture, sculpture and painting. The first part of this paper examines how contemporary art historians determine the very existence of ‘influences’ between artworks. Later on, it is explained how intertextual and post-colonial studies have changed the way art history views the impact of one artwork on another. Having discussed these revisions to our discipline, I ask the question how to pinpoint references of Asian artworks to Western ones, if there is no data about their authors (their education, travels, personal contacts with foreign artists etc.) or the reproductions and replicas of European pictures. Additionally, I raise the issue of the artist’s intention (i.e. if quotations from, and allusions to Western artworks are always conscious and intended). Another issue, which recurs throughout the whole paper, is whether conceptual schemata from Western academia allow art historians to understand and explain Asian art better or whether they just lead to interpretive abuse. The final paragraphs offer some concluding remarks.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130723873","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}
prints from the Edo period. The Great Wave of Kanagawa inspired Andrzej Wajda and Arata Isozaki to create a wave-shaped roof for the building which houses the collection (and, currently, all of us!)15. The numerous series of famous views by Edo or other prints by Hiroshige, Hokusai and many other masters are well-known to those who visit Manggha Museum. Therefore, today I would like to talk about another part of Jasienski’s col lection, one which concerns historical subjects. According to the vernacular of Western art history, I should use the term “historical subject” when I think about any narrated story such as the illustration of the life of Minamoto-no Sugiwara as well as those of the Genji monogatari or of the forty-seven loyal retainers* 25. Thus, included among “historical subject” prints there should be mentioned all prints which are not landscapes or portraits. However, this time I would like to use the term only as a key-word for stories widely known in Japan, either based on facts or not, i.e. Heike monogatari, Soga monogatari, Chushingura, Suikoden and similar narratives. These are different stories but
{"title":"Historical subjects represented in the Feliks Jasieński collection of Japanese woodblock-prints","authors":"A. Görlich","doi":"10.15804/aoto201305","DOIUrl":"https://doi.org/10.15804/aoto201305","url":null,"abstract":"prints from the Edo period. The Great Wave of Kanagawa inspired Andrzej Wajda and Arata Isozaki to create a wave-shaped roof for the building which houses the collection (and, currently, all of us!)15. The numerous series of famous views by Edo or other prints by Hiroshige, Hokusai and many other masters are well-known to those who visit Manggha Museum. Therefore, today I would like to talk about another part of Jasienski’s col lection, one which concerns historical subjects. According to the vernacular of Western art history, I should use the term “historical subject” when I think about any narrated story such as the illustration of the life of Minamoto-no Sugiwara as well as those of the Genji monogatari or of the forty-seven loyal retainers* 25. Thus, included among “historical subject” prints there should be mentioned all prints which are not landscapes or portraits. However, this time I would like to use the term only as a key-word for stories widely known in Japan, either based on facts or not, i.e. Heike monogatari, Soga monogatari, Chushingura, Suikoden and similar narratives. These are different stories but","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125418486","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":"Sihr ul Bayan: Awadh Poetry in Delhi Painting (An imperial later Mughal manuscript from the National Museum, New Delhi)","authors":"S. Kumari","doi":"10.15804/aoto202204","DOIUrl":"https://doi.org/10.15804/aoto202204","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115349180","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":"Beijing‒Theatre‒Tea. The Habit of Tea Drinking in Theatres of Beijing from the 17th Century to the 1950s","authors":"Maurycy Gawarski","doi":"10.15804/aoto201504","DOIUrl":"https://doi.org/10.15804/aoto201504","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123431122","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}
Manga is a fascinating product of contemporary Japanese culture. Strongly rooted in tradition, inferred from art, associated with literature, it has become an inexhaustible source for researchers who wants to explore the achievement of sequential art. Everything is interesting about manga, starting from the artists themselves, ending with the transition from idea to effect. Japanese artists creating comics draw a lot of inspiration from literature and world art. Much comes from myths, legends, fables and fairy tales, both domestic and from around the world. They can be found in the text layer, but mainly in the iconic layer. Among them three main groups can be distinguished: one dealing with the scenario, the second and third will focus on the image, while the third will provide a single borrowed illustration from a particular theme or in a convention. The aim of this paper is to outline the issues relating to Japanese comic books on selected examples, including: trying to determine the potential audience of manga, which were based or only used themes from fairytales, trying to define the role of the artist as a modern-day equivalent fabulist, and pointing out an indication of the most popular topics and methods of presentation.
{"title":"Baśnie i bajki w japońskich komiksach","authors":"Joanna Zaremba-Penk","doi":"10.15804/aoto201206","DOIUrl":"https://doi.org/10.15804/aoto201206","url":null,"abstract":"Manga is a fascinating product of contemporary Japanese culture. Strongly rooted in tradition, inferred from art, associated with literature, it has become an inexhaustible source for researchers who wants to explore the achievement of sequential art. Everything is interesting about manga, starting from the artists themselves, ending with the transition from idea to effect. Japanese artists creating comics draw a lot of inspiration from literature and world art. Much comes from myths, legends, fables and fairy tales, both domestic and from around the world. They can be found in the text layer, but mainly in the iconic layer. Among them three main groups can be distinguished: one dealing with the scenario, the second and third will focus on the image, while the third will provide a single borrowed illustration from a particular theme or in a convention. The aim of this paper is to outline the issues relating to Japanese comic books on selected examples, including: trying to determine the potential audience of manga, which were based or only used themes from fairytales, trying to define the role of the artist as a modern-day equivalent fabulist, and pointing out an indication of the most popular topics and methods of presentation.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129256937","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}
he Islamic epoch – lasting since the time when Islam gained dominance in Java (15t/16t century) till today – is the time of a new great cultural impact on Indonesia, following the Indian influence. Islam spread in Southeast Asia mainly (but not only) through trade contacts. The Islamisation of Indonesia was a long process that can be divided into three phases: the appearance of Muslim merchants (Arab, Persian and Gujarati traders arriving by sea), the formation of Islamic sultanates (the 13t–16t c.) and later the expansion of the new religion to almost the entire archipelago1). The initial contacts of the country with the new religion began in Sumatra and could have already occurred in the 7t–8t centuries2). Sources of Islam were different: 1. It reached Indonesia directly from the Middle East through the visits of merchants from the Middle East and India as well as Turkish craftsmen; 2. The fashion prevailing in the Indian Mughal court was imitated. As the Mughal emperors significantly supported decorative arts, so did the rulers in Southeast Asia. 3. Through merchants from southern China, some of whom were Muslims. 4. After the consolidation of the new religion in Indonesia, the obligatory pilgrimage to Mecca (Al-Hajj) was a very important factor uniting the country with the centres of Islam3); 5. What is more, already since the 13t–14t c. the Indian cultural influence on Indonesia, especially when
{"title":"Islamic ornamental motifs in Indonesia","authors":"K. Morawski","doi":"10.15804/aoto201405","DOIUrl":"https://doi.org/10.15804/aoto201405","url":null,"abstract":"he Islamic epoch – lasting since the time when Islam gained dominance in Java (15t/16t century) till today – is the time of a new great cultural impact on Indonesia, following the Indian influence. Islam spread in Southeast Asia mainly (but not only) through trade contacts. The Islamisation of Indonesia was a long process that can be divided into three phases: the appearance of Muslim merchants (Arab, Persian and Gujarati traders arriving by sea), the formation of Islamic sultanates (the 13t–16t c.) and later the expansion of the new religion to almost the entire archipelago1). The initial contacts of the country with the new religion began in Sumatra and could have already occurred in the 7t–8t centuries2). Sources of Islam were different: 1. It reached Indonesia directly from the Middle East through the visits of merchants from the Middle East and India as well as Turkish craftsmen; 2. The fashion prevailing in the Indian Mughal court was imitated. As the Mughal emperors significantly supported decorative arts, so did the rulers in Southeast Asia. 3. Through merchants from southern China, some of whom were Muslims. 4. After the consolidation of the new religion in Indonesia, the obligatory pilgrimage to Mecca (Al-Hajj) was a very important factor uniting the country with the centres of Islam3); 5. What is more, already since the 13t–14t c. the Indian cultural influence on Indonesia, especially when","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127666168","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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