Abstract This review compares The Museum of Modern Art's exhibition “The Project of Independence: Architectures of Decolonization in South Asia, 1947-1985” (2022) to Farhan Karim's Of Greater Dignity Than Riches: Austerity and Housing Design in India (2019). These two examples’ distinct approaches to architecture and design in twentieth-century South Asia are conditioned by their respective formats and scopes. Both the exhibition and the book draw attention to the ideas, ambitions, and aspirations undergirding architecture and design in the region, and as expressed by agents including architects, designers, bureaucrats, construction workers, intellectuals, and critics. They do so, however, towards variant critical ends that are juxtaposed and compared in this review. The final portion of this review discusses how questions of architectural and design production and conception, central towards understanding the intellectual contributions of architects, designers, and their collaborators, stand enhanced through a focus on issues of representation that also make their way into historical archives, and as such might be critically enfolded within historical narratives.
{"title":"On the Aspirations of Architecture and Design in 20th-Century South Asia","authors":"V. Khandelwal","doi":"10.1162/artm_r_00352","DOIUrl":"https://doi.org/10.1162/artm_r_00352","url":null,"abstract":"Abstract This review compares The Museum of Modern Art's exhibition “The Project of Independence: Architectures of Decolonization in South Asia, 1947-1985” (2022) to Farhan Karim's Of Greater Dignity Than Riches: Austerity and Housing Design in India (2019). These two examples’ distinct approaches to architecture and design in twentieth-century South Asia are conditioned by their respective formats and scopes. Both the exhibition and the book draw attention to the ideas, ambitions, and aspirations undergirding architecture and design in the region, and as expressed by agents including architects, designers, bureaucrats, construction workers, intellectuals, and critics. They do so, however, towards variant critical ends that are juxtaposed and compared in this review. The final portion of this review discusses how questions of architectural and design production and conception, central towards understanding the intellectual contributions of architects, designers, and their collaborators, stand enhanced through a focus on issues of representation that also make their way into historical archives, and as such might be critically enfolded within historical narratives.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"81-94"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44828772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the conversation is the way Laude seeks to negate Ndiaye's cross-cultural experience and background, and arguably his very legitimacy as a contemporary artist. Laude's insistence on adhering to neat categories (linguistic, national, artistic) in engaging with Ndiaye, coupled with Ndiaye's steady defiance of these categories, point to broader tensions between structuralism and area studies, on the one hand, and poststructuralism and postcolonial studies, on the other. The conversation also invites careful scrutiny of the problem of Eurocentrism, in the sense that Laude's structuralist position is in fact anti-Eurocentric: colonialism is condemned for destroying local traditions, which are in turn revered at the expense of allegedly derivative expressions emerging from the same societies. Ndiaye nevertheless holds his own against Laude's aggressive paternalism, and manages to call into question a number of the art historian's assumptions around the perceived axes and obligations of artistic identity.
{"title":"Introduction to “Art, Signs, and Cultures” (1977)","authors":"Joshua I. Cohen","doi":"10.1162/artm_a_00354","DOIUrl":"https://doi.org/10.1162/artm_a_00354","url":null,"abstract":"Abstract This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the conversation is the way Laude seeks to negate Ndiaye's cross-cultural experience and background, and arguably his very legitimacy as a contemporary artist. Laude's insistence on adhering to neat categories (linguistic, national, artistic) in engaging with Ndiaye, coupled with Ndiaye's steady defiance of these categories, point to broader tensions between structuralism and area studies, on the one hand, and poststructuralism and postcolonial studies, on the other. The conversation also invites careful scrutiny of the problem of Eurocentrism, in the sense that Laude's structuralist position is in fact anti-Eurocentric: colonialism is condemned for destroying local traditions, which are in turn revered at the expense of allegedly derivative expressions emerging from the same societies. Ndiaye nevertheless holds his own against Laude's aggressive paternalism, and manages to call into question a number of the art historian's assumptions around the perceived axes and obligations of artistic identity.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"106-111"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42646150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The author focuses on the project exhibition, “The Potosí Principle,” curated by Alice Creischer, Max Hinderer, and Andreas Siekmann Initially installed in Madrid in 2010 and then traveling to Berlin and La Paz, the show cut across the institutionally defined and often rigorously guarded boundaries between curatorial practice, aesthetic expression, and scholarly research to explore global capitalism's dynamics from the perspective of the Spanish colonial empire and its distinctive imagery. However, despite the exhibition's creative installation techniques and revisionist history, it generated a considerable scandal when a self-organized group of La Paz-based artists and scholars committed to anticolonial practices accused the curators of continuing the logic through which the modern West has represented others. The author argues that this criticism parallels the often-fraught negotiations between artists, curators, and curated cultures at the boundary zones between art frameworks.
{"title":"Ch'ixi Epistemology and The Potosí Principle in the 21st Century","authors":"A. Alberro","doi":"10.1162/artm_a_00347","DOIUrl":"https://doi.org/10.1162/artm_a_00347","url":null,"abstract":"Abstract The author focuses on the project exhibition, “The Potosí Principle,” curated by Alice Creischer, Max Hinderer, and Andreas Siekmann Initially installed in Madrid in 2010 and then traveling to Berlin and La Paz, the show cut across the institutionally defined and often rigorously guarded boundaries between curatorial practice, aesthetic expression, and scholarly research to explore global capitalism's dynamics from the perspective of the Spanish colonial empire and its distinctive imagery. However, despite the exhibition's creative installation techniques and revisionist history, it generated a considerable scandal when a self-organized group of La Paz-based artists and scholars committed to anticolonial practices accused the curators of continuing the logic through which the modern West has represented others. The author argues that this criticism parallels the often-fraught negotiations between artists, curators, and curated cultures at the boundary zones between art frameworks.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"18-30"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48305228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the conversation is the way Laude seeks to negate Ndiaye's cross-cultural experience and background, and arguably his very legitimacy as a contemporary artist. Laude's insistence on adhering to neat categories (linguistic, national, artistic) in engaging with Ndiaye, coupled with Ndiaye's steady defiance of these categories, point to broader tensions between structuralism and area studies, on the one hand, and poststructuralism and postcolonial studies, on the other. The conversation also invites careful scrutiny of the problem of Eurocentrism, in the sense that Laude's structuralist position is in fact anti-Eurocentric: colonialism is condemned for destroying local traditions, which are in turn revered at the expense of allegedly derivative expressions emerging from the same societies. Ndiaye nevertheless holds his own against Laude's aggressive paternalism, and manages to call into question a number of the art historian's assumptions around the perceived axes and obligations of artistic identity.
{"title":"Art, Signs, and Cultures: Iba Ndiaye and Jean Laude in Conversation with Roger Pillaudin","authors":"Iba Ndiaye, J. Laude","doi":"10.1162/artm_a_00355","DOIUrl":"https://doi.org/10.1162/artm_a_00355","url":null,"abstract":"Abstract This document, translated from the original French, is an edited transcript of a conversation between the Senegalese painter Iba Ndiaye, the French art historian Jean Laude, and a moderator, Roger Pillaudin. It took place on the occasion of the Festival des arts et cultures africaines in Royan, France (March 1977), and was later broadcast on the radio channel France Culture. What stands out in the conversation is the way Laude seeks to negate Ndiaye's cross-cultural experience and background, and arguably his very legitimacy as a contemporary artist. Laude's insistence on adhering to neat categories (linguistic, national, artistic) in engaging with Ndiaye, coupled with Ndiaye's steady defiance of these categories, point to broader tensions between structuralism and area studies, on the one hand, and poststructuralism and postcolonial studies, on the other. The conversation also invites careful scrutiny of the problem of Eurocentrism, in the sense that Laude's structuralist position is in fact anti-Eurocentric: colonialism is condemned for destroying local traditions, which are in turn revered at the expense of allegedly derivative expressions emerging from the same societies. Ndiaye nevertheless holds his own against Laude's aggressive paternalism, and manages to call into question a number of the art historian's assumptions around the perceived axes and obligations of artistic identity.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"112-123"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48947666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article analyzes the articulation of south-south relation in Octavio Paz's In Light of India (1995) and A Tale of Two Gardens: Poems from India, 1952-1995 (1997), works of prose and poetry that traverse the antipodes of Mexico and India. These works emphasize partial viewing, repeated comparison, and cultivated sense-perception. They model a poetics of the glimpse, an effect of the play of light and shadow and a privileged mode of seeing for Paz. To glimpse is to see without clarity, control, or complete knowledge. It is to find oneself in the other. Paz's writing anticipates twenty-first-century projects that relate artists and intellectuals in the global south such as the School of the South (2022) programs of the Johannesburg Contemporary Art Foundation inspired by Uruguayan artist Joaquín Torres-García's formulation from 1935. His comparative method suggests new directions for global art history and postcolonial critique.
摘要本文分析了奥克塔维奥·帕斯（Octavio Paz）的《印度之光》（in Light of India，1995）和《两个花园的故事：来自印度的诗，1952-1995》（A Tale of Two Gardens:Poems from India，1952-19951997）中关于南南关系的阐述，这些散文和诗歌穿越了墨西哥和印度的两极。这些作品强调局部观看、反复比较和培养感官感知。他们塑造了一种瞥见的诗学，一种光影游戏的效果，以及帕斯的特权观看模式。瞥见是指看不清楚、看不到控制或看不到完整的知识。它是在另一个人身上找到自己。帕斯的作品预计了21世纪与全球南方艺术家和知识分子有关的项目，如约翰内斯堡当代艺术基金会的南方学院（2022）项目，灵感来自乌拉圭艺术家若阿金·托雷斯·加西亚1935年的作品。他的比较方法为全球艺术史和后殖民批判提供了新的方向。
{"title":"Southern Lights: Octavio Paz's “Glimpses of India” and the Art of Relation","authors":"Sonal Khullar","doi":"10.1162/artm_a_00350","DOIUrl":"https://doi.org/10.1162/artm_a_00350","url":null,"abstract":"Abstract This article analyzes the articulation of south-south relation in Octavio Paz's In Light of India (1995) and A Tale of Two Gardens: Poems from India, 1952-1995 (1997), works of prose and poetry that traverse the antipodes of Mexico and India. These works emphasize partial viewing, repeated comparison, and cultivated sense-perception. They model a poetics of the glimpse, an effect of the play of light and shadow and a privileged mode of seeing for Paz. To glimpse is to see without clarity, control, or complete knowledge. It is to find oneself in the other. Paz's writing anticipates twenty-first-century projects that relate artists and intellectuals in the global south such as the School of the South (2022) programs of the Johannesburg Contemporary Art Foundation inspired by Uruguayan artist Joaquín Torres-García's formulation from 1935. His comparative method suggests new directions for global art history and postcolonial critique.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"31-42"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44824269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract When taken as a conglomerate, the postcolonial, the global, and the decolonial might signal a coordinated “decolonizing” action—one of breaking with the Eurocentric, patriarchal, and nationalist foundations of art history. Yet from a disaggregating perspective, these three terms and their respective domains cannot be seen as synonymous or entirely harmonious. What particularly demands scrutiny is the tendency to dismiss the postcolonial, or announce its demise, by claiming it has been superseded by other paradigms, namely the global and the decolonial. This introductory essay, and its accompanying special issue of ARTMargins, seeks to trace the postcolonial, global, and decolonial as they have intersected with scholarship in art history over the past five decades, and to challenge postcolonialism's presumed obsolescence in the wake of the global turn. Postcolonial thought, we argue, has given rise to a generative series of critical interventions in art history at least since the 1970s and 1980s, and has proven to be nuanced and self-reflexive. Postcolonial lines of inquiry not only continue to offer ways of critically exploring colonial-era and subsequent artistic practices, but also allow for interrogations of formations of art and the discipline of art history as colonial forms of knowledge. As such, postcolonialism still vitalizes debates within the discipline regarding the constitution of its own objects, lineaments, and methods.
{"title":"Art History, Postcolonialism, and the Global Turn","authors":"Joshua I. Cohen, Foad Torshizi, V. Zamindar","doi":"10.1162/artm_e_00346","DOIUrl":"https://doi.org/10.1162/artm_e_00346","url":null,"abstract":"Abstract When taken as a conglomerate, the postcolonial, the global, and the decolonial might signal a coordinated “decolonizing” action—one of breaking with the Eurocentric, patriarchal, and nationalist foundations of art history. Yet from a disaggregating perspective, these three terms and their respective domains cannot be seen as synonymous or entirely harmonious. What particularly demands scrutiny is the tendency to dismiss the postcolonial, or announce its demise, by claiming it has been superseded by other paradigms, namely the global and the decolonial. This introductory essay, and its accompanying special issue of ARTMargins, seeks to trace the postcolonial, global, and decolonial as they have intersected with scholarship in art history over the past five decades, and to challenge postcolonialism's presumed obsolescence in the wake of the global turn. Postcolonial thought, we argue, has given rise to a generative series of critical interventions in art history at least since the 1970s and 1980s, and has proven to be nuanced and self-reflexive. Postcolonial lines of inquiry not only continue to offer ways of critically exploring colonial-era and subsequent artistic practices, but also allow for interrogations of formations of art and the discipline of art history as colonial forms of knowledge. As such, postcolonialism still vitalizes debates within the discipline regarding the constitution of its own objects, lineaments, and methods.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"3-17"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49151911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In the last two decades, key sites in the European borderscape—the “jungle” of Calais, the dense patchwork of settlements around Melilla and Ceuta, myriad migrant or refugee camps along Europe's Mediterranean coastline and in the major train stations of its capital cities—have become art factories. In these spaces, artists from a range of backgrounds are making new work, much of which seeks to challenge the exoticist and primitivizing tropes that, in Europe, have characterized the representation of im/migrant presences at least since the official colonial period. Among the most conspicuous and intractable of these tropes have been those connected with the representation of Africa and Africans in the European borderscape. This essay explores a handful of particular strategies used by artists working in and around the French borderscape and speculates about their consequences for thinking about both contemporary art and contemporary politics.
{"title":"This Past Must Address Its Future: Uses of African Noncontemporaneity in Contemporary Art from the French Borderscape","authors":"J. Bajorek","doi":"10.1162/artm_a_00348","DOIUrl":"https://doi.org/10.1162/artm_a_00348","url":null,"abstract":"Abstract In the last two decades, key sites in the European borderscape—the “jungle” of Calais, the dense patchwork of settlements around Melilla and Ceuta, myriad migrant or refugee camps along Europe's Mediterranean coastline and in the major train stations of its capital cities—have become art factories. In these spaces, artists from a range of backgrounds are making new work, much of which seeks to challenge the exoticist and primitivizing tropes that, in Europe, have characterized the representation of im/migrant presences at least since the official colonial period. Among the most conspicuous and intractable of these tropes have been those connected with the representation of Africa and Africans in the European borderscape. This essay explores a handful of particular strategies used by artists working in and around the French borderscape and speculates about their consequences for thinking about both contemporary art and contemporary politics.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"69-80"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48085396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper focuses on several works by the Palestinian-Canadian painter Amanda Boulos that communicate the shared desire of both Palestinians in the diaspora and Indigenous peoples of Canada to move beyond the normative identities of settler colonialism. Through co-ordinated social historical, formalist and iconographical readings of Boulos's work, I propose a shift in the discourse on global contemporary art, from postcolonial figures of the oriental, the subaltern and the hybrid to strategies of representation such as transformation, ambiguity and queering – a shift intended to foster alliances amongst members of BIPOC communities, against the divisive politics of settler colonialism in Palestine, Canada and elsewhere. To this end, the artworks are set in two interrelated contexts: one art historical and one more strictly political. Boulos's work is read in relation to that of contemporary artists dealing with postcolonial conflict zones, and Modern and contemporary Palestinian artists both in Palestine and its diaspora. Relevant political contexts for her work include Palestinian LGBTQ activism after the Second Intifada and the 2014 Israeli War on Gaza called Operation Protective Edge.
{"title":"What Does Art History Have to Say About a Lebanese Sasquatch? The Body of Decolonial Struggle in Amanda Boulos's Art","authors":"Tammer El-Sheikh","doi":"10.1162/artm_a_00349","DOIUrl":"https://doi.org/10.1162/artm_a_00349","url":null,"abstract":"Abstract This paper focuses on several works by the Palestinian-Canadian painter Amanda Boulos that communicate the shared desire of both Palestinians in the diaspora and Indigenous peoples of Canada to move beyond the normative identities of settler colonialism. Through co-ordinated social historical, formalist and iconographical readings of Boulos's work, I propose a shift in the discourse on global contemporary art, from postcolonial figures of the oriental, the subaltern and the hybrid to strategies of representation such as transformation, ambiguity and queering – a shift intended to foster alliances amongst members of BIPOC communities, against the divisive politics of settler colonialism in Palestine, Canada and elsewhere. To this end, the artworks are set in two interrelated contexts: one art historical and one more strictly political. Boulos's work is read in relation to that of contemporary artists dealing with postcolonial conflict zones, and Modern and contemporary Palestinian artists both in Palestine and its diaspora. Relevant political contexts for her work include Palestinian LGBTQ activism after the Second Intifada and the 2014 Israeli War on Gaza called Operation Protective Edge.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"58-68"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49262601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract What does it mean to see Third World “development” as a problem of untapped creativity? This paper argues that quick celebrations of ingenuity across the world has been part of a new mode securing expertise and legitimizing intervention that emerges after the Second World War. Propelled by architects and planners, this mode bypasses the quantitative and historical questions of colonial drain and global financial regimes to project qualitative “patterns” across the Third World as a source of immanent and self-generative change.
{"title":"Counting Quality, Seeing Patterns","authors":"Ijlal Muzaffar","doi":"10.1162/artm_a_00351","DOIUrl":"https://doi.org/10.1162/artm_a_00351","url":null,"abstract":"Abstract What does it mean to see Third World “development” as a problem of untapped creativity? This paper argues that quick celebrations of ingenuity across the world has been part of a new mode securing expertise and legitimizing intervention that emerges after the Second World War. Propelled by architects and planners, this mode bypasses the quantitative and historical questions of colonial drain and global financial regimes to project qualitative “patterns” across the Third World as a source of immanent and self-generative change.","PeriodicalId":41203,"journal":{"name":"ARTMargins","volume":"12 1","pages":"43-57"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64467272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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