Pub Date : 2020-10-01DOI: 10.1215/00666637-8620366
Fiona Buckee
The Muṇḍeśvarī temple near Bhabuā in southwest Bihar is an octagonal, sandstone monument without a spire. Scholars have dated the temple to the first half of the seventh century, primarily on account of early inscriptions from the site and the style of the door frames. Few monuments survive from this nascent stage of structural North Indian temple architecture, and the Muṇḍeśvarī temple is intriguing because it is an anomaly in terms of its size, composition, and the shape of its plan. This study argues that the Muṇḍeśvarī temple has been misdated, and presents a systematic architectural analysis that highlights multiple features and irregularities that are incompatible with early North Indian design. The paper proposes that, rather than being seventh century, the octagonal shrine was built about a millennia later, in the sixteenth–seventeenth century, incorporating doorways and moldings salvaged from the ruins of the seventh century temples that once graced the hilltop. The latter part of the article considers how the Muṇḍeśvarī temple came to be buried by the end of the eighteenth century, and questions whether the Archaeological Survey of India might have altered the temple's appearance during the reconstructive work they undertook at the start of the twentieth century.
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Pub Date : 2020-04-01DOI: 10.1215/00666637-8124979
S. McCausland
After his expulsion from the Forbidden City in 1924, China’s ‘last emperor’, Henry Puyi 溥儀 (1906-1967), settled in Tianjin where he later presented parting gifts to his former English tutor, Reginald F. Johnston 莊士敦 (1874-1938), including an album by the Nanjing painter Chen Shu 陳舒 (active c. 1649-c. 1687) from the ex-Qing (1644-1911) imperial collection and an inscribed folding fan. These are now reunited in the library collection of SOAS University of London, where Johnston taught Chinese after his return to Britain in 1931. Together with Puyi’s preface transcribed by courtier-calligrapher Zheng Xiaoxu 鄭孝胥 (1860-1938) for Johnston’s memoire, Twilight in the Forbidden City (1934), these artworks pave the way for an investigation of the practice of connoisseurship at Puyi’s court-in-exile in China’s era of modernism, including Puyi’s use of the imperial collection and his selection of these gifts even while he also shaping to become Japan’s puppet-emperor in Manchuria (r. 1934-45). The study roams beyond the well-known network of Puyi and his court advisors among the yilao 遺老 (Qing ‘old guard’) to uncover an unexpected modernist connection with the progressive young artist, publisher and taste-maker Zheng Wuchang 鄭午昌 (1894-1952), a leading actor in the reform of guohua 國畫 ink painting. The study rediscovers how Zheng Wuchang contributed the painting to an inscribed handscroll, Flight of the Dragon (or, A Storm and a Marvel 風益圖), McCausland, ‘The Flight of the Dragon’ 2 which commemorated, for the court inner circle, Puyi’s dramatic escape from the Forbidden City amid the realities of a modern, Republican world.
1924年，中国“末代皇帝”亨利·溥仪被逐出紫禁城溥儀 （1906-1967），定居天津，后来在那里向他的前英语导师雷金纳德·F·约翰斯顿赠送了临别礼物莊士敦 （1874-1938），包括南京画家陈数的画册陳舒 （活跃于1649年至1687年），来自前清（1644-1911年）的皇室收藏和一把刻有铭文的折扇。约翰斯顿1931年返回英国后，曾在伦敦SOAS大学的图书馆教授中文。与朝臣书法家郑孝胥抄录的溥仪序鄭孝胥 （1860-1938）在约翰斯顿的回忆录《紫禁城里的黄昏》（1934）中，这些艺术品为调查在中国现代主义时代流亡的溥仪宫廷的鉴赏家实践铺平了道路，包括溥仪在塑造成为日本在满洲的傀儡皇帝（1934-45年在位）时对帝国藏品的使用和对这些礼物的选择。这项研究超越了溥仪和他的宫廷顾问在易老中的知名网络遺老 （清“老卫士”）揭示了与进步青年艺术家、出版商和品味创造者郑五常之间意想不到的现代主义联系鄭午昌 （1894-1952），国华变法的主要人物國畫 水墨画。这项研究重新发现了郑五常是如何将这幅画创作成一幅题有“龙的飞翔”的手卷的風益圖), 麦考斯兰（McCausland）的《龙的逃亡》（The Flight of The Dragon）2为宫廷核心圈子纪念了溥仪在现代共和世界的现实中戏剧性地逃离紫禁城。
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Pub Date : 2020-04-01DOI: 10.1215/00666637-8124988
Cheng-Hua Wang
abstract:This research focuses on one of the most famous paintings made at the court of the Qing dynasty (1644–1911)—Qingming shanghe (Up the River during Qingming). Commissioned by the Yongzheng emperor (r. 1723–1735) and completed in the second year of the Qianlong emperor’s reign (1736–1795), the painting is a rare example of Qing court art that reveals how Qianlong furthered his father’s artistic vision while formulating his own in the first fifteen years of his long tenure as ruler. This vision involved how to reinterpret and reinvent the Chinese painting tradition through time-honored themes. The article is divided into four sections. In the first, it brings attention to the salient and crucial but long neglected stylistic features of the painting— those that emphasize theatricality and spectatorship. These interconnected features link and characterize the paintings commissioned by Yongzheng. The second section shifts to discuss the emerging cultural agenda of Yongzheng as seen through the manner in which court art references the Chinese painting tradition. The most remarkable act regards the reinterpretation of old painting themes that include Qingming shanghe and Baijun tu (One Hundred Horses). The third section analyzes how the paratextual elements of Qingming shanghe, especially Qianlong’s poem and inscription, inform us of the emperor’s views about the production mechanism of court painting and the political meaning of this work. The last section, based on Qianlong’s understanding of the painting, highlights the emperor’s cultural agenda associated with the idea of yuanben, which pointed to new versions of old themes made by his painting academy.
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Pub Date : 2020-04-01DOI: 10.1215/00666637-8124970
Michael J. Hatch
abstract:In 1800 Huang Yi published Engraved Texts of the Lesser Penglai Pavilion, reproducing his collection of antique rubbings as well as the later inscriptions added to them by scholars. The original rubbings were made from ancient inscribed stone monuments, and the book’s immediate audience was the aficionados of such objects, scholars of epigraphy and evidential research. A technique that exactly conveyed the material condition of those aged rubbings was important to these scholars. Huang Yi chose the outline method called shuanggou, which traced the broken boundaries between figure and ground. This old method for copying calligraphy usually involved two stages—outlining and filling in—so that the final product reproduced a simulacrum of the original calligraphy. Huang Yi left his reproductions at the outline stage, however, which resulted in strange, warped, and broken figures that merged figure and ground, calling attention to the illegibility of many of the characters reproduced in the rubbings and evacuating the calligraphy of brushwork. This essay analyzes the figures of Engraved Texts within the context of a broader epigraphic aesthetic that permeated calligraphy and painting circa 1800. It goes on to suggest that Huang Yi’s choice of shuanggou outlines, while firmly rooted in an epigraphic obsession with the material past, also marked the horizon of a changing attitude toward brushwork, and had more in common with modern methods of visualizing the world, such as the drafting techniques later implemented in engineering schools during the modernizing reforms of the late nineteenth century.
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Pub Date : 2020-04-01DOI: 10.1215/00666637-8124961
J. Gommans
Questions arising from the so-called Brooklyn kalamkari, a seven-panel, hand-painted cotton textile, have confronted art historians for decades: what do we see, who produced it for whom, what does it mean? With royal court scenes from all over the Indian Ocean world, the Brooklyn kalamkari represents a uniquely cosmopolitan worldview from early-seventeenth-century South India. In this essay I discuss the makings of this particular worldview in the context of early modern processes of globalization and state-formation. By engaging with the work of Indologists Johan Huizinga, Jan Heesterman, and David Shulman on Indian kingship and theater, I then attempt to decode the local and the global, as well as the seen and unseen, meaning of this textile.
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Pub Date : 2019-10-01DOI: 10.1215/00666637-7719404
Einor K. Cervone
A floating gallery, a drifting studio where sprawling waterscapes set off artwork on display and inspire original creation—the painting-and-calligraphy boat (shuhua chuan) may sound like a postmodern experimental installation. For its Ming patrons, however, it was nothing of the sort. Traceable to Mi Fu's floating gallery-cum-studio, the “art boat” was perceived as a beacon of cultural orthodoxy by generations of aesthetes like Mi Wanzhong, Dong Qichang, and Li Rihua. A nod to antiquity, it situated them in the continuum of long-standing tradition. The practice reached its acme in the mid- and late Ming, against currents of growing social mobility and dynamic imbalance that gave rise to a culture of connoisseurship as part of a fierce competition for social distinction. This paper examines the lure of waterborne art connoisseurship as cultural capital. Unique to the art boat is the act of collecting pieces for display and appraisal—an act akin to modern curatorial discernment. The selection of works that accompanied the patron onboard became an expressive medium. The painting-and-calligraphy boat also privileged a sense of fortuity. Chance encounters and spontaneous inspiration complemented the boats' movement along their free-form routes. Yet, the most prominent feature distinguishing the art boat was its visibility. Open panoramas of outstretched waterscape conjured a new creative avenue, a self-aestheticizing of both participant and vessel. This paper extricates the painting-and-calligraphy boat from its perception as a passing curiosity and shows it to be an enduring phenomenon that permeated premodern Jiangnan—the choice of the waterscape as a space of creation and recreation.
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Pub Date : 2019-10-01DOI: 10.1215/00666637-7719413
Minku Kim
Caṅkrama is mindful locomotion, a notion and practice well developed in classical India. Within the Buddhist tradition, a series of such ambulations performed by the historical Buddha in the wake of his Enlightenment is widely recognized; in Bodhgayā itself, the monument known as Caṅkramaṇa has long commemorated the path he took. The early stupas of Bhārhut and Sāñcī also bear representations of this ambulation path and other noteworthy occurrences. In connection to caṅkrama, a fact that has been neglected until now is that the earliest and largest known freestanding statues of the Buddha made in Kuṣān Mathurā were all made to be installed at the venerated caṅkrama sites in Śrāvastī, Vārāṇasī, and Kauśāmbī. This essay groups these specimens together under the rubric of “caṅkrama type,” and suggests that this new taxonomy can be extended to other early standing statues of Mathurā with similar traits—kapardas, scalloped nimbi, akimbo arms, splayed feet, and so forth. Arguably, the very first appearances of Mathurā's “standing” Buddha-images might be closely related to the cult of caṅkrama, and thus should be factored into the historical transition from the previous aniconic period. The essay also presents a new interpretation of the term bodhisattva as it appears in the dedicatory inscriptions of the caṅkrama types and other early Mathurān statues depicting the Buddha. Here “bodhisattva” can be understood literally, and even symbolically, as equivalent to “image”; that is, the term may signify the representation itself rather than pointing to the Buddha's previous career as a bodhisattva.
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Pub Date : 2019-10-01DOI: 10.1215/00666637-7719395
Christine I. Ho
In the late 1930s, design studies in China underwent a paradigmatic shift when the cosmopolitan idioms fashioned within treaty-port cities were rejected in favor of populist ethnonationalism, developed along the border regions of wartime China. This essay examines design compendia by Pang Xunqin and Lei Guiyuan, founding figures in modern design studies, as proposals that advocate for a reevaluation of folk and ethnic-minority traditions. Shaped by a signal moment in wartime modernism, the design proposals are located at the conjunction of two fields of knowledge that were discursively reframed by the heightened cultural nationalism of the Sino-Japanese War: the expansion of modern archaeology, and ethnographic study of minority cultures. In reclaiming folk-minority craft as a generative source of decoration, Pang Xunqin and Lei Guiyuan were also critically engaged with delimiting the design profession as a specialized realm of knowledge production.
{"title":"In Search of National Decoration","authors":"Christine I. Ho","doi":"10.1215/00666637-7719395","DOIUrl":"https://doi.org/10.1215/00666637-7719395","url":null,"abstract":"\u0000 In the late 1930s, design studies in China underwent a paradigmatic shift when the cosmopolitan idioms fashioned within treaty-port cities were rejected in favor of populist ethnonationalism, developed along the border regions of wartime China. This essay examines design compendia by Pang Xunqin and Lei Guiyuan, founding figures in modern design studies, as proposals that advocate for a reevaluation of folk and ethnic-minority traditions. Shaped by a signal moment in wartime modernism, the design proposals are located at the conjunction of two fields of knowledge that were discursively reframed by the heightened cultural nationalism of the Sino-Japanese War: the expansion of modern archaeology, and ethnographic study of minority cultures. In reclaiming folk-minority craft as a generative source of decoration, Pang Xunqin and Lei Guiyuan were also critically engaged with delimiting the design profession as a specialized realm of knowledge production.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45584049","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}
Pub Date : 2019-10-01DOI: 10.1215/00666637-7719422
Ghichul Jung
In this study, I revisit the long-standing debate over the origin of the T'ongdosa ordination platform, drawing on Daoxuan's commentary on the sīmā (monastic boundary). I argue that the initial platform was far from the type of stone structure it is now, but rather was an exposed, leveled ground built on an elevated terrace at the northwest corner of the monastery proper. In combination with the ordination facility and the Buddhist pagoda, the initial ordination platform of T'ongdosa served as an important model for those subsequently built in Unified Silla and beyond.
{"title":"On the Elevated Terrace at the Corner","authors":"Ghichul Jung","doi":"10.1215/00666637-7719422","DOIUrl":"https://doi.org/10.1215/00666637-7719422","url":null,"abstract":"In this study, I revisit the long-standing debate over the origin of the T'ongdosa ordination platform, drawing on Daoxuan's commentary on the sīmā (monastic boundary). I argue that the initial platform was far from the type of stone structure it is now, but rather was an exposed, leveled ground built on an elevated terrace at the northwest corner of the monastery proper. In combination with the ordination facility and the Buddhist pagoda, the initial ordination platform of T'ongdosa served as an important model for those subsequently built in Unified Silla and beyond.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45111215","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}
Pub Date : 2019-10-01DOI: 10.1215/00666637-7719431
{"title":"Art of Asia Acquired by North American Museums, 2017–2018","authors":"","doi":"10.1215/00666637-7719431","DOIUrl":"https://doi.org/10.1215/00666637-7719431","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45369914","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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