The Jageshwar valley, situated thirty-five kilometers northeast of the district town of Almora in Uttarakhand state in northern India, has one hundred fifty lithic edifices and nearly as many steles dating from the seventh to the twenty-first century (Fig. 1). This conglomeration makes this valley the locus of the largest number of Hindu monuments and sculptures in the wide swath of Himalayan terrain extending from the Kangra valley in the west to the Kathmandu valley in the east. How, when, and why did the Jageshwar valley develop into a great tı̄rtha (sacred center)? Even provisional answers to this question are neither straightforward nor easy to obtain. For unlike places of historical and cultural significance in Kangra and Kathmandu, the Jageshwar valley has received little scholarly attention. Accurate floor plans of only five
{"title":"The Jageshwar Valley, Where Death Is Conquered","authors":"Nachiket Chanchani","doi":"10.1353/AAA.2014.0000","DOIUrl":"https://doi.org/10.1353/AAA.2014.0000","url":null,"abstract":"The Jageshwar valley, situated thirty-five kilometers northeast of the district town of Almora in Uttarakhand state in northern India, has one hundred fifty lithic edifices and nearly as many steles dating from the seventh to the twenty-first century (Fig. 1). This conglomeration makes this valley the locus of the largest number of Hindu monuments and sculptures in the wide swath of Himalayan terrain extending from the Kangra valley in the west to the Kathmandu valley in the east. How, when, and why did the Jageshwar valley develop into a great tı̄rtha (sacred center)? Even provisional answers to this question are neither straightforward nor easy to obtain. For unlike places of historical and cultural significance in Kangra and Kathmandu, the Jageshwar valley has received little scholarly attention. Accurate floor plans of only five","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"63 1","pages":"133 - 154"},"PeriodicalIF":0.5,"publicationDate":"2014-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“A Simultaneous Validity of Co-Existing Cultures”: J. Swaminathan, the Bharat Bhavan, and Contemporaneity","authors":"Katherine F. Hacker","doi":"10.1353/AAA.2014.0018","DOIUrl":"https://doi.org/10.1353/AAA.2014.0018","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"64 1","pages":"191 - 209"},"PeriodicalIF":0.5,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hōryūji 法隆寺 is a Buddhist temple complex located to the southwest of the city of Nara. It was originally built in the early seventh century as Ikarugadera by a royal prince named Umayato no Toyotomimi 厩戸 豊聡耳 (574–ca. 622). Ikarugadera burned down in 670, but the temple was subsequently rebuilt at the current location and was functioning by the first half of the eighth century as Hōryūji. The oldest sanctuary of Hōryūji is known as the West Precinct 西院伽藍 (Saiin Garan, Fig. 1). It contains a Golden Hall 金堂 (Kondō) and a five-story pagoda 五重塔 (Gojūnotō, Fig. 2) located side by side, surrounded by a corridor 回廊 (Kairō) that presently connects to the Lecture Hall (講堂, Kōdō) to the north and the Central Gateway 中門 (Chūmon) to the south. On each side of the first story of the pagoda, there is a sūtra tableau of polychrome unbaked clay in a semicircular alcove. Located between two of the four posts that surround a central ‘‘heart pillar’’ 心柱 (shinbashira), it faces outward toward the corridor (Figs. 3, 4). The Hōryūji sūtra tableaux are panoramic three-dimensional landscapes, a type of temple ornamentation that first
Hōryūji是一座位于奈良市西南部的佛教寺庙。它最初是在七世纪早期由一位名叫Umayato no Toyotomimi的皇室王子建造的Ikarugadera厩622)。Ikarugadera于公元670年被烧毁，但寺庙随后在现址重建，并在8世纪上半叶以Hōryūji的名义运作。Hōryūji最古老的圣所被称为西院区(赛因伽兰，图1)。它包含一个金殿(kondhi)和一个五层宝塔(Gojūnotō，图2)并排，周围是一个走廊(kairhi)，目前连接到北面的讲堂(Kōdō)和南面的中央门户(Chūmon)。在宝塔第一层的每一侧，都有一个半圆形凹室，里面有一个由未烘烤的彩色粘土制成的sūtra画面。它位于围绕中央“心柱”的四根柱子中的两根之间，面向外的走廊(图3,4)。Hōryūji sūtra的画面是全景的三维景观，是一种寺庙装饰
{"title":"Figuring Salvation: The Hōryūji Clay Sūtra Tableaux","authors":"Akiko Walley","doi":"10.1353/AAA.2014.0016","DOIUrl":"https://doi.org/10.1353/AAA.2014.0016","url":null,"abstract":"Hōryūji 法隆寺 is a Buddhist temple complex located to the southwest of the city of Nara. It was originally built in the early seventh century as Ikarugadera by a royal prince named Umayato no Toyotomimi 厩戸 豊聡耳 (574–ca. 622). Ikarugadera burned down in 670, but the temple was subsequently rebuilt at the current location and was functioning by the first half of the eighth century as Hōryūji. The oldest sanctuary of Hōryūji is known as the West Precinct 西院伽藍 (Saiin Garan, Fig. 1). It contains a Golden Hall 金堂 (Kondō) and a five-story pagoda 五重塔 (Gojūnotō, Fig. 2) located side by side, surrounded by a corridor 回廊 (Kairō) that presently connects to the Lecture Hall (講堂, Kōdō) to the north and the Central Gateway 中門 (Chūmon) to the south. On each side of the first story of the pagoda, there is a sūtra tableau of polychrome unbaked clay in a semicircular alcove. Located between two of the four posts that surround a central ‘‘heart pillar’’ 心柱 (shinbashira), it faces outward toward the corridor (Figs. 3, 4). The Hōryūji sūtra tableaux are panoramic three-dimensional landscapes, a type of temple ornamentation that first","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"64 1","pages":"119 - 163"},"PeriodicalIF":0.5,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"John M. Rosenfield (1924–2013)","authors":"Y. Shimizu","doi":"10.1353/AAA.2014.0019","DOIUrl":"https://doi.org/10.1353/AAA.2014.0019","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"6 1","pages":"211 - 213"},"PeriodicalIF":0.5,"publicationDate":"2014-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0019","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
pattern covering over four-fifths of the screen’s surface (Fig. 9). The pattern is not merely a frame for the tabletop scene in the center but is an important design element in its own right. Conventionally this spacious ‘‘background’’ might have been left as negative space, but the leopard spots turn it into positive space, nearly eliminating the concept of negative space altogether. The intermingling of reality and abstraction takes many forms in chaekgeori painting. For example, tabletop chaekgeori artists freely adopted diverse perspecFig. 14. Preliminary Drawing of Scholar’s Accoutrements (Chaekgeori), Korea, 19th century. Eight-panel folding booklet, ink on paper, 69.2 350.5 cm. The Robert and Sandra Mattielli Collection, Oregon, USA. SUNGLIM KIM Chaekgeori 23
{"title":"Chaekgeori: Multi-Dimensional Messages in Late Joseon Korea","authors":"Sunglim Kim","doi":"10.1353/AAA.2014.0011","DOIUrl":"https://doi.org/10.1353/AAA.2014.0011","url":null,"abstract":"pattern covering over four-fifths of the screen’s surface (Fig. 9). The pattern is not merely a frame for the tabletop scene in the center but is an important design element in its own right. Conventionally this spacious ‘‘background’’ might have been left as negative space, but the leopard spots turn it into positive space, nearly eliminating the concept of negative space altogether. The intermingling of reality and abstraction takes many forms in chaekgeori painting. For example, tabletop chaekgeori artists freely adopted diverse perspecFig. 14. Preliminary Drawing of Scholar’s Accoutrements (Chaekgeori), Korea, 19th century. Eight-panel folding booklet, ink on paper, 69.2 350.5 cm. The Robert and Sandra Mattielli Collection, Oregon, USA. SUNGLIM KIM Chaekgeori 23","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"64 1","pages":"3 - 32"},"PeriodicalIF":0.5,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Looking to the West: Stone Molds and Foreign Visual Models in Satavahana Material Culture (First–Second Century ce )","authors":"P. Brancaccio","doi":"10.1353/AAA.2014.0012","DOIUrl":"https://doi.org/10.1353/AAA.2014.0012","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"64 1","pages":"33 - 41"},"PeriodicalIF":0.5,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2002, the Metropolitan Museum of Art, New York, acquired an exquisite gold plaque with an image of a cicada at its center (MMA 2002.255) (Fig. 1). The plaque is said to be from China and is stylistically similar to several plaques excavated throughout the country, but little or nothing is known of its provenance. Works like this one often bridge gaps in the archaeological record but can be frustratingly difficult to understand without knowledge of their origins. How then should we treat these objects? Should we disregard them? Omit them from our scholarship? In this paper, we, the authors—an art historian and an objects conservator— will describe how we have approached this particular object. In the case of this Chinese cicada plaque—one of more than thirty in collections across the globe (Table 1)—we are fortunate to have enough supporting archaeological and documentary evidence to allow us to posit an approximate date and possibly even a geographical source. Although we will never know the precise findspot of the plaque or to whom it belonged, modern conservation science has enabled us to learn more than ever before. Using analytical laboratory techniques such as scanning electron microscopy, x-ray diffraction, and x-ray fluorescence spectrometry, we can discover its physical composition and provide an expanded view of its artistic construction. These findings, in turn, enrich and inform our understanding of the larger body of cicada plaques in collections in China, Japan, Europe, and the United States. First, we will provide an overview of the cicada plaques whose findspots are known. Next, we will investigate the Metropolitan plaque’s materials and methods of manufacture. Finally, we will explore the form and iconography of the cicada in order to better understand its function in the context of medieval Chinese society and funerary customs. We hope this first in-depth study of the cicada plaques will encourage the reexamination and scientific analysis of plaques at other institutions in the future.
2002年，纽约大都会艺术博物馆(Metropolitan Museum of Art, New York)获得了一块精美的金饰，中间有一只蝉的图像(MMA 2002.255)(图1)。这块匾据说来自中国，风格与全国各地出土的几块匾相似，但很少或根本不知道它的出处。像这样的作品经常弥补考古记录上的空白，但如果不知道它们的起源，就很难理解。那么我们应该如何对待这些对象呢?我们应该无视他们吗?把他们从奖学金中剔除?在这篇论文中，我们，作者——一个艺术史学家和一个文物保护者——将描述我们是如何处理这件特殊的物品的。就这块中国蝉匾而言，我们很幸运，有足够的考古和文献证据支持，使我们能够假设一个大致的日期，甚至可能是地理来源。虽然我们永远不会知道这块牌匾的确切发现地点，也不会知道它属于谁，但现代保护科学使我们比以往任何时候都能了解更多。利用扫描电子显微镜、x射线衍射和x射线荧光光谱等分析实验室技术，我们可以发现它的物理组成，并提供一个扩展的艺术结构视图。这些发现反过来丰富并告知我们对中国、日本、欧洲和美国收藏的更大的蝉斑的理解。首先，我们将概述其发现点已知的蝉斑。接下来，我们将调查大都会牌匾的材料和制造方法。最后，我们将探讨蝉的形式和图像，以便更好地了解它在中世纪中国社会和丧葬习俗中的作用。我们希望这第一次对蝉斑的深入研究将鼓励其他机构在未来对斑块进行重新检查和科学分析。
{"title":"Art and Technology in a Chinese Gold Cicada Plaque","authors":"Sarah Laursen, D. Strahan","doi":"10.1353/AAA.2014.0013","DOIUrl":"https://doi.org/10.1353/AAA.2014.0013","url":null,"abstract":"In 2002, the Metropolitan Museum of Art, New York, acquired an exquisite gold plaque with an image of a cicada at its center (MMA 2002.255) (Fig. 1). The plaque is said to be from China and is stylistically similar to several plaques excavated throughout the country, but little or nothing is known of its provenance. Works like this one often bridge gaps in the archaeological record but can be frustratingly difficult to understand without knowledge of their origins. How then should we treat these objects? Should we disregard them? Omit them from our scholarship? In this paper, we, the authors—an art historian and an objects conservator— will describe how we have approached this particular object. In the case of this Chinese cicada plaque—one of more than thirty in collections across the globe (Table 1)—we are fortunate to have enough supporting archaeological and documentary evidence to allow us to posit an approximate date and possibly even a geographical source. Although we will never know the precise findspot of the plaque or to whom it belonged, modern conservation science has enabled us to learn more than ever before. Using analytical laboratory techniques such as scanning electron microscopy, x-ray diffraction, and x-ray fluorescence spectrometry, we can discover its physical composition and provide an expanded view of its artistic construction. These findings, in turn, enrich and inform our understanding of the larger body of cicada plaques in collections in China, Japan, Europe, and the United States. First, we will provide an overview of the cicada plaques whose findspots are known. Next, we will investigate the Metropolitan plaque’s materials and methods of manufacture. Finally, we will explore the form and iconography of the cicada in order to better understand its function in the context of medieval Chinese society and funerary customs. We hope this first in-depth study of the cicada plaques will encourage the reexamination and scientific analysis of plaques at other institutions in the future.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"64 1","pages":"43 - 57"},"PeriodicalIF":0.5,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Distinguishing “Set” from “Series” in Tibetan Painting","authors":"J. Repo","doi":"10.1353/AAA.2014.0014","DOIUrl":"https://doi.org/10.1353/AAA.2014.0014","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"64 1","pages":"59 - 73"},"PeriodicalIF":0.5,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A New Earthly Paradise: Appropriation and Politics in Li Keran’s Representation of Beihai Park","authors":"Yan Geng","doi":"10.1353/AAA.2014.0008","DOIUrl":"https://doi.org/10.1353/AAA.2014.0008","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"64 1","pages":"75 - 92"},"PeriodicalIF":0.5,"publicationDate":"2014-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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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