Pub Date : 2019-04-01DOI: 10.1215/00666637-7329873
Robert Decaroli
abstract:Visitors to early (second century bce–fifth century ce) Buddhist monastic sites across South Asia encountered prominent figural images of nāgas, serpent-like beings who were believed to be closely connected to water and rainfall. Such images are commonly identified as guardians and occasionally have been linked to nearby water systems, such as ponds, tanks, and rivers. Yet, these images have not been studied as an aspect of water regulation within the monasteries themselves. This paper will first consider the water-related challenges that confronted the monks and architects at rock-cut monasteries. Then methods of hydraulic engineering designed to regulate the flow of water at the sites will be considered in relation to the role of nāga imagery. Their proximity to gutters and tanks reveals the Buddhist reliance on supernatural forces as an aspect of water control. The highly visible nature of this arrangement helps to explain the emergence of ritual texts, primarily after the fourth century ce, in which Buddhist ritualists adopt the role of rainmakers. These elaborate ceremonies promise to bring rain or end flooding for the benefit of the saṃgha and the wider community. The ritualists invariably invoke a special relationship with the nāgas, whom they enjoin to rectify undesirable conditions. This connection between image and text reveals a centuries-long process by which the monastic community developed an association with weather regulation that was contingent on a cultivated and highly public relationship with Buddhist-friendly nāgas.
{"title":"Snakes and Gutters: Nāga Imagery, Water Management, and Buddhist Rainmaking Rituals in Early South Asia","authors":"Robert Decaroli","doi":"10.1215/00666637-7329873","DOIUrl":"https://doi.org/10.1215/00666637-7329873","url":null,"abstract":"abstract:Visitors to early (second century bce–fifth century ce) Buddhist monastic sites across South Asia encountered prominent figural images of nāgas, serpent-like beings who were believed to be closely connected to water and rainfall. Such images are commonly identified as guardians and occasionally have been linked to nearby water systems, such as ponds, tanks, and rivers. Yet, these images have not been studied as an aspect of water regulation within the monasteries themselves. This paper will first consider the water-related challenges that confronted the monks and architects at rock-cut monasteries. Then methods of hydraulic engineering designed to regulate the flow of water at the sites will be considered in relation to the role of nāga imagery. Their proximity to gutters and tanks reveals the Buddhist reliance on supernatural forces as an aspect of water control. The highly visible nature of this arrangement helps to explain the emergence of ritual texts, primarily after the fourth century ce, in which Buddhist ritualists adopt the role of rainmakers. These elaborate ceremonies promise to bring rain or end flooding for the benefit of the saṃgha and the wider community. The ritualists invariably invoke a special relationship with the nāgas, whom they enjoin to rectify undesirable conditions. This connection between image and text reveals a centuries-long process by which the monastic community developed an association with weather regulation that was contingent on a cultivated and highly public relationship with Buddhist-friendly nāgas.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"69 1","pages":"1 - 19"},"PeriodicalIF":0.5,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48072524","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 : 2019-04-01DOI: 10.1215/00666637-7329891
Jung-Ah Woo
abstract:This article analyzes the various practices of the WAWA Project as a case study of community-based art after the Great East Japan Earthquake on 11 March 2011 (“3.11”). Organized by Masato Nakamura (b. 1963), the Tokyo-based artist, college professor, and director of an artist collective commandN, the WAWA Project is an ongoing project that initiates, mobilizes, promotes, and connects local residents and civic groups in disaster-stricken areas for their regeneration efforts. In the current discourse of contemporary art, the WAWA Project can be discussed within the framework of relational aesthetics, in the sense that the works of art function as a platform through which the individuals are engaged collectively with particular experiences and social circumstances so as to create a communal unity. This conceptualization of relational aesthetics becomes theoretically impoverished and politically suspect when combined with Japan’s changed sociopolitical environment in the wake of 3.11. When the state exploits the rhetoric of communal solidarity, it seriously undermines democracy, threatens autonomous individuals, and blocks egalitarian social structure instead of furthering it. I argue that the dynamic, creative, and contestatory networks and initiatives that WAWA Project has promoted, which are distinct from the more formalized community associations and artistic projects, will allow us to articulate alternative ways of challenging conventional conceptions of community and social order.
{"title":"United to Be Dispersed: The WAWA Project and Community Art after the Great East Japan Earthquake","authors":"Jung-Ah Woo","doi":"10.1215/00666637-7329891","DOIUrl":"https://doi.org/10.1215/00666637-7329891","url":null,"abstract":"abstract:This article analyzes the various practices of the WAWA Project as a case study of community-based art after the Great East Japan Earthquake on 11 March 2011 (“3.11”). Organized by Masato Nakamura (b. 1963), the Tokyo-based artist, college professor, and director of an artist collective commandN, the WAWA Project is an ongoing project that initiates, mobilizes, promotes, and connects local residents and civic groups in disaster-stricken areas for their regeneration efforts. In the current discourse of contemporary art, the WAWA Project can be discussed within the framework of relational aesthetics, in the sense that the works of art function as a platform through which the individuals are engaged collectively with particular experiences and social circumstances so as to create a communal unity. This conceptualization of relational aesthetics becomes theoretically impoverished and politically suspect when combined with Japan’s changed sociopolitical environment in the wake of 3.11. When the state exploits the rhetoric of communal solidarity, it seriously undermines democracy, threatens autonomous individuals, and blocks egalitarian social structure instead of furthering it. I argue that the dynamic, creative, and contestatory networks and initiatives that WAWA Project has promoted, which are distinct from the more formalized community associations and artistic projects, will allow us to articulate alternative ways of challenging conventional conceptions of community and social order.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"69 1","pages":"55 - 72"},"PeriodicalIF":0.5,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44266458","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 : 2019-04-01DOI: 10.1215/00666637-7329882
Miriam Chusid
abstract:By the thirteenth century in Japan, King Enma (Sanskrit: Yama-rāja) had become a familiar deity in the Buddhist pantheon. Largely understood as the judge of one’s past deeds, Enma’s position as one king in a series of ten was common knowledge, and offerings made to him, as well as to the other nine, served to ensure the petitioner a favorable rebirth in his or her next life. This article brings to light Enma’s roles independent of this schema. It argues that far from serving solely as the judge of one’s actions, Enma could be a figure to whom one petitioned for worldly benefits and even directed prayers for salvation. In addition, this essay shows that the architectural and spatial settings in which Enma was placed influenced the understanding of his varied functions, and ultimately enabled his refiguration as a salvific deity who had the power to grant birth in a Buddha land.
{"title":"Constructing the Afterlife, Reenvisioning Salvation: Enma Halls and Enma Veneration in Medieval Japan","authors":"Miriam Chusid","doi":"10.1215/00666637-7329882","DOIUrl":"https://doi.org/10.1215/00666637-7329882","url":null,"abstract":"abstract:By the thirteenth century in Japan, King Enma (Sanskrit: Yama-rāja) had become a familiar deity in the Buddhist pantheon. Largely understood as the judge of one’s past deeds, Enma’s position as one king in a series of ten was common knowledge, and offerings made to him, as well as to the other nine, served to ensure the petitioner a favorable rebirth in his or her next life. This article brings to light Enma’s roles independent of this schema. It argues that far from serving solely as the judge of one’s actions, Enma could be a figure to whom one petitioned for worldly benefits and even directed prayers for salvation. In addition, this essay shows that the architectural and spatial settings in which Enma was placed influenced the understanding of his varied functions, and ultimately enabled his refiguration as a salvific deity who had the power to grant birth in a Buddha land.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"69 1","pages":"21 - 53"},"PeriodicalIF":0.5,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47809672","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 : 2019-04-01DOI: 10.1215/00666637-7329909
Michele Matteini
abstract:In the late 1770s Weng Fanggang (1733–1818) initiated what would become a defining feature of High Qing cultural and social life: ceremonies in honor of Su Shi’s birthday. These elaborate, collective rituals took place yearly in Weng’s Beijing residence and centered on a number of authentic “traces” (ji) of Su Shi that Weng had rediscovered over time. What was the significance of these rituals and how did they relate to the broader late-eighteenth-century interest in the past’s material traces? This essay follows Weng Fanggang’s quest for Su Shi across the empire and reconstructs the ways three such traces—a calligraphy, a poetry anthology, and a portrait—were continually transformed to accommodate Weng’s act of devotion to Su Shi. The active participation of Chosŏn scholars in Weng’s endeavors extended the cult of Su Shi beyond the borders of the Qing empire, outlining the existence of a transnational community of scholars who identified themselves in shared cultural symbols.
{"title":"The Aesthetics of Scholarship: Weng Fanggang and the Cult of Su Shi in Late-Eighteenth-Century Beijing","authors":"Michele Matteini","doi":"10.1215/00666637-7329909","DOIUrl":"https://doi.org/10.1215/00666637-7329909","url":null,"abstract":"abstract:In the late 1770s Weng Fanggang (1733–1818) initiated what would become a defining feature of High Qing cultural and social life: ceremonies in honor of Su Shi’s birthday. These elaborate, collective rituals took place yearly in Weng’s Beijing residence and centered on a number of authentic “traces” (ji) of Su Shi that Weng had rediscovered over time. What was the significance of these rituals and how did they relate to the broader late-eighteenth-century interest in the past’s material traces? This essay follows Weng Fanggang’s quest for Su Shi across the empire and reconstructs the ways three such traces—a calligraphy, a poetry anthology, and a portrait—were continually transformed to accommodate Weng’s act of devotion to Su Shi. The active participation of Chosŏn scholars in Weng’s endeavors extended the cult of Su Shi beyond the borders of the Qing empire, outlining the existence of a transnational community of scholars who identified themselves in shared cultural symbols.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"69 1","pages":"103 - 120"},"PeriodicalIF":0.5,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48486736","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 : 2019-04-01DOI: 10.1215/00666637-7329900
A. Weitz
abstract:Chinese painted fans from the Song dynasty survive in relatively large numbers owing to the protective brocade mounts in which later collectors placed them. At the time of their initial production, however, fan paintings were meant to be held in the hand and worn on the body. This two-part article first considers the contexts of production, consumption, and signification of painted fans in twelfth- and thirteenth-century China, particularly in the urban setting of the capital city at Hang-zhou. It then turns to the painted fans’ transformation into collectibles in the late thirteenth and early fourteenth centuries, with attention given to the aesthetic, political, and social nostalgia of the Song-Yuan transition, which continues to flavor the reception of these images down to the present day.
{"title":"Two Tales of Song-Dynasty Painted Fans","authors":"A. Weitz","doi":"10.1215/00666637-7329900","DOIUrl":"https://doi.org/10.1215/00666637-7329900","url":null,"abstract":"abstract:Chinese painted fans from the Song dynasty survive in relatively large numbers owing to the protective brocade mounts in which later collectors placed them. At the time of their initial production, however, fan paintings were meant to be held in the hand and worn on the body. This two-part article first considers the contexts of production, consumption, and signification of painted fans in twelfth- and thirteenth-century China, particularly in the urban setting of the capital city at Hang-zhou. It then turns to the painted fans’ transformation into collectibles in the late thirteenth and early fourteenth centuries, with attention given to the aesthetic, political, and social nostalgia of the Song-Yuan transition, which continues to flavor the reception of these images down to the present day.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"69 1","pages":"101 - 73"},"PeriodicalIF":0.5,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49348279","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 : 2018-10-01DOI: 10.1215/00666637-7162237
S. Erickson
abstract:Objects carved of jade often were placed in Han-dynasty burials of people of high rank. This article focuses on a small, shield-shaped (or “heart-shaped”) pendant frequently found near the deceased. The development of the type is examined through its appearance in tombs dating to the early Western Han through the end of the Eastern Han and extending into the immediate post-Han period. The typology of the pendant and its surface decoration are analyzed. This type of jade pendant resurfaced in the Song dynasty, but its most significant resurgence is during the Ming and early Qing dynasties, although by then its decorative features, as recorded in illustrations in books, appear to be more important than its use in burials. The article also explores the foundational years of collecting Chinese art in the West by individuals such as the sinologist Berthold Laufer, as well as other scholars of Chinese art, as they began to understand the shield-shaped pendant’s origin as a Han-dynasty artifact and to explore its significance.
{"title":"The Shield-Shaped Jade Pendant: A Singular Han-Dynasty Type and Its Later Revivals","authors":"S. Erickson","doi":"10.1215/00666637-7162237","DOIUrl":"https://doi.org/10.1215/00666637-7162237","url":null,"abstract":"abstract:Objects carved of jade often were placed in Han-dynasty burials of people of high rank. This article focuses on a small, shield-shaped (or “heart-shaped”) pendant frequently found near the deceased. The development of the type is examined through its appearance in tombs dating to the early Western Han through the end of the Eastern Han and extending into the immediate post-Han period. The typology of the pendant and its surface decoration are analyzed. This type of jade pendant resurfaced in the Song dynasty, but its most significant resurgence is during the Ming and early Qing dynasties, although by then its decorative features, as recorded in illustrations in books, appear to be more important than its use in burials. The article also explores the foundational years of collecting Chinese art in the West by individuals such as the sinologist Berthold Laufer, as well as other scholars of Chinese art, as they began to understand the shield-shaped pendant’s origin as a Han-dynasty artifact and to explore its significance.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"68 1","pages":"157 - 190"},"PeriodicalIF":0.5,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48735300","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 : 2018-10-01DOI: 10.1215/00666637-7162219
Sonal Khullar
abstract:This essay examines a creative dialogue between painters and poets, among them Nissim Ezekiel, Adil Jussawalla, Bhupen Khakhar, Arun Kolatkar, Arvind Krishna Mehrotra, Gieve Patel, and Sudhir Patwardhan, in Bombay (Mumbai) during a period that encompassed Khakhar’s first solo show at the Jehangir Art Gallery in 1965 and the publication of four books of poetry by Clearing House, an independent press established in 1976 by Jussawalla, Kolatkar, Mehrotra, and Patel. Through a close analysis of word and image, it illuminates the distinctive aesthetics and politics of these artists encapsulated by the terms lifting and loafing. The Bombay painters and poets came to lifting—documenting and defamiliarizing—their environment by citing and subverting street signs, advertisements, state propaganda, calendar art, film posters, and newspaper photographs. They took to loafing—a mode of critical observation and analysis, and the pursuit of committed deprofessionalization and translation across spaces—and mobilized the ordinary, yet extraordinary, spaces of the paan (areca nut wrapped in betel leaf) shop and the Irani restaurant as metaphors of artistic sociability and subjectivity. Through lifting and loafing, the Bombay painters and poets offered a critique of nationalist and bourgeois values, as well as the artistic establishment represented by associations and institutions such as the Progressive Artists Group and Jamsetjee Jeejebhoy School of Art. They diverged from their predecessors and peers in an emphasis on everyday life and found objects, and in bringing together the visual and verbal worlds exemplified by the Baroda (Vadodara)-based journal Vrishchik.
{"title":"“We Were Looking for Our Violins”: The Bombay Painters and Poets, ca. 1965–76","authors":"Sonal Khullar","doi":"10.1215/00666637-7162219","DOIUrl":"https://doi.org/10.1215/00666637-7162219","url":null,"abstract":"abstract:This essay examines a creative dialogue between painters and poets, among them Nissim Ezekiel, Adil Jussawalla, Bhupen Khakhar, Arun Kolatkar, Arvind Krishna Mehrotra, Gieve Patel, and Sudhir Patwardhan, in Bombay (Mumbai) during a period that encompassed Khakhar’s first solo show at the Jehangir Art Gallery in 1965 and the publication of four books of poetry by Clearing House, an independent press established in 1976 by Jussawalla, Kolatkar, Mehrotra, and Patel. Through a close analysis of word and image, it illuminates the distinctive aesthetics and politics of these artists encapsulated by the terms lifting and loafing. The Bombay painters and poets came to lifting—documenting and defamiliarizing—their environment by citing and subverting street signs, advertisements, state propaganda, calendar art, film posters, and newspaper photographs. They took to loafing—a mode of critical observation and analysis, and the pursuit of committed deprofessionalization and translation across spaces—and mobilized the ordinary, yet extraordinary, spaces of the paan (areca nut wrapped in betel leaf) shop and the Irani restaurant as metaphors of artistic sociability and subjectivity. Through lifting and loafing, the Bombay painters and poets offered a critique of nationalist and bourgeois values, as well as the artistic establishment represented by associations and institutions such as the Progressive Artists Group and Jamsetjee Jeejebhoy School of Art. They diverged from their predecessors and peers in an emphasis on everyday life and found objects, and in bringing together the visual and verbal worlds exemplified by the Baroda (Vadodara)-based journal Vrishchik.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"68 1","pages":"111 - 132"},"PeriodicalIF":0.5,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49501893","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 : 2018-10-01DOI: 10.1215/00666637-7162228
Ellen Huang
abstract:This article examines the phenomenon of yaobian 窯變, or kiln transformations, in late imperial and early modern China as material epistemology and material practice. By providing a genealogical analysis of documentations of yaobian in late imperial texts spanning the twelfth through the nineteenth centuries, the article relates their supernatural connotations to the production of Qing-period Jingdezhen Jun-style wares, variously known as flambé wares or kiln transmutation glazes. The article advances that the significance of such eighteenth-century yaobian porcelain wares lies in their very inexplicability of craftsmanship and ability to index both physical transformation as well as infinite formal transformation for the Qing empire, particularly during the reign of the Qianlong emperor (1736–1795).
{"title":"An Art of Transformation: Reproducing Yaobian Glazes in Qing-Dynasty Porcelain","authors":"Ellen Huang","doi":"10.1215/00666637-7162228","DOIUrl":"https://doi.org/10.1215/00666637-7162228","url":null,"abstract":"abstract:This article examines the phenomenon of yaobian 窯變, or kiln transformations, in late imperial and early modern China as material epistemology and material practice. By providing a genealogical analysis of documentations of yaobian in late imperial texts spanning the twelfth through the nineteenth centuries, the article relates their supernatural connotations to the production of Qing-period Jingdezhen Jun-style wares, variously known as flambé wares or kiln transmutation glazes. The article advances that the significance of such eighteenth-century yaobian porcelain wares lies in their very inexplicability of craftsmanship and ability to index both physical transformation as well as infinite formal transformation for the Qing empire, particularly during the reign of the Qianlong emperor (1736–1795).","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"68 1","pages":"133 - 156"},"PeriodicalIF":0.5,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45473952","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 : 2018-10-01DOI: 10.1215/00666637-7162255
Sonya S. Lee
abstract:Kucha was one of the major political powers and cultural centers along the ancient Silk Road, home to a great number of Buddhist cave temples that have survived from the time of their creation sometime between the third century and the eighth. Although they are not as well-known as their counterparts in Dunhuang, the complexes at Kizil and Kumutra, among others, have preserved equally invaluable material evidence of the vibrant interchange of goods, ideas, and cultural practices that took place across the entire region in the first millennium. These sites represent the crucial link with the artistic traditions of Gandhara, India, and Persia in explicating the Chinese adaptation of a complex, foreign visual culture through the introduction of Buddhism. This essay reviews a number of significant publications on the art and archaeology of Kucha that have appeared in the past decade. Marking one of the notable trends in Asian studies today, the remarkable growth in Kucha scholarship has been facilitated in one way or another by the opening of China’s Xinjiang Uighur Autonomous Region to the outside world. The review focuses on the compilations of source materials, reception and collection histories, and interpretative studies of source materials, examining each of these three areas within their proper historical and historiographical contexts. An extensive review of Archaeological and Visual Sources of Meditation in the Ancient Monasteries of Kuča (2015) by Angela F. Howard and Giuseppe Vignato appears in the last section of the essay.
{"title":"Recent Publications on the Art and Archaeology of Kucha: A Review Article","authors":"Sonya S. Lee","doi":"10.1215/00666637-7162255","DOIUrl":"https://doi.org/10.1215/00666637-7162255","url":null,"abstract":"abstract:Kucha was one of the major political powers and cultural centers along the ancient Silk Road, home to a great number of Buddhist cave temples that have survived from the time of their creation sometime between the third century and the eighth. Although they are not as well-known as their counterparts in Dunhuang, the complexes at Kizil and Kumutra, among others, have preserved equally invaluable material evidence of the vibrant interchange of goods, ideas, and cultural practices that took place across the entire region in the first millennium. These sites represent the crucial link with the artistic traditions of Gandhara, India, and Persia in explicating the Chinese adaptation of a complex, foreign visual culture through the introduction of Buddhism. This essay reviews a number of significant publications on the art and archaeology of Kucha that have appeared in the past decade. Marking one of the notable trends in Asian studies today, the remarkable growth in Kucha scholarship has been facilitated in one way or another by the opening of China’s Xinjiang Uighur Autonomous Region to the outside world. The review focuses on the compilations of source materials, reception and collection histories, and interpretative studies of source materials, examining each of these three areas within their proper historical and historiographical contexts. An extensive review of Archaeological and Visual Sources of Meditation in the Ancient Monasteries of Kuča (2015) by Angela F. Howard and Giuseppe Vignato appears in the last section of the essay.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"68 1","pages":"215 - 232"},"PeriodicalIF":0.5,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47870849","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 : 2018-10-01DOI: 10.1215/00666637-7162264
{"title":"Art of Asia Acquired by North American Museums, 2016–2017","authors":"","doi":"10.1215/00666637-7162264","DOIUrl":"https://doi.org/10.1215/00666637-7162264","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42050532","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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