{"title":"Depictions of Animals in the Satirical War Prints of Kobayashi Kiyochika","authors":"Monika Jankiewicz-Brzostowska","doi":"10.15804/aoto202006","DOIUrl":"https://doi.org/10.15804/aoto202006","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"80 9 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":"131124225","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":"Disgust or fascination? Insects in works of contemporary East Asian artists","authors":"Magdalena Furmanik-Kowalska","doi":"10.15804/aoto202007","DOIUrl":"https://doi.org/10.15804/aoto202007","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"34 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":"124276799","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":"Confucian values contained in representations of birds on Chinese fabrics during the Qing Dynasty","authors":"Katarzyna Zapolska","doi":"10.15804/aoto202005","DOIUrl":"https://doi.org/10.15804/aoto202005","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"34 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":"128255829","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":"The study of Yangliuqing New Year Picture","authors":"Zhou Jia","doi":"10.15804/aoto201901","DOIUrl":"https://doi.org/10.15804/aoto201901","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123418051","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":"The traditional Korean house hanok as a reflection of the family hierarchy","authors":"Z. Krzysztofik","doi":"10.15804/aoto201906","DOIUrl":"https://doi.org/10.15804/aoto201906","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124237299","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}
ayang kulit, shadow theatre, which has roots dating back over one thousand years, is one of the most popular, or even the most popular theatre form in Java. The performances, which last the whole night and during which the dalang (puppeteer) animates a few or several dozen puppets, mainly depict stories taken from the Mahabharata or Ramayana. Live gamelan music accompanies the play. The puppets, made of specially prepared and painted leather, are one of the most characteristic elements of wayang, recognized even by those who have never seen any performance. Javanese streets are full of billboards advertising Hollywood superheroes by means of wayang puppets. Heroic warriors from the Mahabharata are everywhere – on hotel signboards, buses, t-shirts and all kinds of souvenirs. Wayang puppets are not only the symbols of shadow theatre – now they are seen as a symbol of Javanese culture and the whole of Indonesia outside its borders. So, they appear in tourist brochures that promote exotic vacations, on the covers of books by Indonesian writers and, most often, in the form of intriguing interior decorations used in TV series and films created in the West. Although the puppets themselves are becoming more and more popular, their importance and meaning are usually reduced to their aesthetic dimension only. But the puppet used in shadow theatre represents a human being, even if it is not an accurate reflection. Their appearance is strictly defined and corresponds to the puppet’s character. Puppets differ in size, shape, head position, type of eyes, nose or mouth, ornaments and decorations, the way the feet are arranged, and finally the colours of the polychrome covering them. Each detail has its own meaning and experienced members of the
{"title":"The Art of Wayang","authors":"M. Lis","doi":"10.15804/aoto201907","DOIUrl":"https://doi.org/10.15804/aoto201907","url":null,"abstract":"ayang kulit, shadow theatre, which has roots dating back over one thousand years, is one of the most popular, or even the most popular theatre form in Java. The performances, which last the whole night and during which the dalang (puppeteer) animates a few or several dozen puppets, mainly depict stories taken from the Mahabharata or Ramayana. Live gamelan music accompanies the play. The puppets, made of specially prepared and painted leather, are one of the most characteristic elements of wayang, recognized even by those who have never seen any performance. Javanese streets are full of billboards advertising Hollywood superheroes by means of wayang puppets. Heroic warriors from the Mahabharata are everywhere – on hotel signboards, buses, t-shirts and all kinds of souvenirs. Wayang puppets are not only the symbols of shadow theatre – now they are seen as a symbol of Javanese culture and the whole of Indonesia outside its borders. So, they appear in tourist brochures that promote exotic vacations, on the covers of books by Indonesian writers and, most often, in the form of intriguing interior decorations used in TV series and films created in the West. Although the puppets themselves are becoming more and more popular, their importance and meaning are usually reduced to their aesthetic dimension only. But the puppet used in shadow theatre represents a human being, even if it is not an accurate reflection. Their appearance is strictly defined and corresponds to the puppet’s character. Puppets differ in size, shape, head position, type of eyes, nose or mouth, ornaments and decorations, the way the feet are arranged, and finally the colours of the polychrome covering them. Each detail has its own meaning and experienced members of the","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116783522","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}
egu yaolun 格古要論 or The Essential Criteria of Antiques by Cao Zhao 曹昭 (pseudonym Cao Mingzhong 曹明仲) is one of the oldest compendia regarding works of art and antiques to be created in China. The author of this book, published in 1388, was an ardent collector and researcher. The translation of Cao Zhao’s text into English was first made in 1971 by Sir Percival David who, in addition to the basic content, also included facsimiles from 1388 and comments from later editions considered lost in the European circles. The whole appeared under the title: Chinese Connoisseurship. The Ko Ku Yao Lun. The Essential Criteria of Antiquities. Sir Percival, in the Introduction to his work, described the intricate history of his own studies on Gegu yaolun, indicating at the same time the dates of subsequent editions of the mysterious book and the authors of extensions and additions. The completion of the book is very important as it tells us about the authority of the original textbook, which is the starting point for further research on collecting in China. The original text written by Cao Zhao was first published in 1387 in Nanjing. It consisted of three juans (chapters),
{"title":"The significance of Gegu yaolun 格古要論 – a 14th century antiquarian guide for the development of China’s knowledge and material culture","authors":"Bogna Łakomska","doi":"10.15804/aoto201905","DOIUrl":"https://doi.org/10.15804/aoto201905","url":null,"abstract":"egu yaolun 格古要論 or The Essential Criteria of Antiques by Cao Zhao 曹昭 (pseudonym Cao Mingzhong 曹明仲) is one of the oldest compendia regarding works of art and antiques to be created in China. The author of this book, published in 1388, was an ardent collector and researcher. The translation of Cao Zhao’s text into English was first made in 1971 by Sir Percival David who, in addition to the basic content, also included facsimiles from 1388 and comments from later editions considered lost in the European circles. The whole appeared under the title: Chinese Connoisseurship. The Ko Ku Yao Lun. The Essential Criteria of Antiquities. Sir Percival, in the Introduction to his work, described the intricate history of his own studies on Gegu yaolun, indicating at the same time the dates of subsequent editions of the mysterious book and the authors of extensions and additions. The completion of the book is very important as it tells us about the authority of the original textbook, which is the starting point for further research on collecting in China. The original text written by Cao Zhao was first published in 1387 in Nanjing. It consisted of three juans (chapters),","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"146 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115738738","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":"Meiji Woodblock Prints by Utagawa Kokunimasa in the collection of the National Maritime Museum in Gdańsk","authors":"Monika Jankiewicz-Brzostowska","doi":"10.15804/aoto201902","DOIUrl":"https://doi.org/10.15804/aoto201902","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121681172","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":"Japanese pacifi st and ecological posters U.G. Satō and others","authors":"Katarzyna Kulpińska","doi":"10.15804/aoto201903","DOIUrl":"https://doi.org/10.15804/aoto201903","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126022277","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":"On the interpretation of ‘sun-ray head’ figures as shamanic in the rock art of Central Asia","authors":"I. Shvets","doi":"10.15804/aoto201806","DOIUrl":"https://doi.org/10.15804/aoto201806","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122983590","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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