Abstract:The essay explores the history of one of the most celebrated pieces of Chinese calligraphy, an early Tang tracing copy of Ritual to Pray for Good Harvest (Xingrangtie) by Wang Xizhi (303-ca. 361). The Tang paper slip with its fifteen characters is merely 8.9 cm wide but embedded into a scroll of 372 cm, with seals and colophons from three Chinese emperors and an illustrious line of connoisseurs. The essay explores the numerous paradoxes in the reception of both the scroll and the Wang Xizhi persona, with the scroll exemplifying the constructed nature of Wang’s persona in its dialectic relationship to Chinese imperial culture.
{"title":"Made by the Empire: Wang Xizhi’s Xingrangtie and Its Paradoxes","authors":"M. Kern","doi":"10.1353/AAA.2016.0003","DOIUrl":"https://doi.org/10.1353/AAA.2016.0003","url":null,"abstract":"Abstract:The essay explores the history of one of the most celebrated pieces of Chinese calligraphy, an early Tang tracing copy of Ritual to Pray for Good Harvest (Xingrangtie) by Wang Xizhi (303-ca. 361). The Tang paper slip with its fifteen characters is merely 8.9 cm wide but embedded into a scroll of 372 cm, with seals and colophons from three Chinese emperors and an illustrious line of connoisseurs. The essay explores the numerous paradoxes in the reception of both the scroll and the Wang Xizhi persona, with the scroll exemplifying the constructed nature of Wang’s persona in its dialectic relationship to Chinese imperial culture.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"65 1","pages":"117 - 137"},"PeriodicalIF":0.5,"publicationDate":"2016-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578754","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}
This paper focuses on Miaoyinsi, a Buddhist temple in Yongdeng County, Gansu province, at the Sino-Tibetan frontier. Miaoyinsi was constructed by the Mongolian Lu family, who governed this region beginning in the fifteenth century under the hereditary title tusi. Miaoyinsi’s main hall is unusual architecturally because while it is primarily a traditional Chinese structure, a narrow corridor wraps around three sides of the building, a feature more commonly associated with the architecture of Tibet. This hybrid building type exists in several other temples within this borderland region and can be considered a local architectural response to Tibetan Buddhist ritual practices.
{"title":"A Fifteenth-Century Sino-Tibetan Buddha Hall at the Lu Family Tusi","authors":"Aurelia Campbell","doi":"10.1353/AAA.2016.0002","DOIUrl":"https://doi.org/10.1353/AAA.2016.0002","url":null,"abstract":"This paper focuses on Miaoyinsi, a Buddhist temple in Yongdeng County, Gansu province, at the Sino-Tibetan frontier. Miaoyinsi was constructed by the Mongolian Lu family, who governed this region beginning in the fifteenth century under the hereditary title tusi. Miaoyinsi’s main hall is unusual architecturally because while it is primarily a traditional Chinese structure, a narrow corridor wraps around three sides of the building, a feature more commonly associated with the architecture of Tibet. This hybrid building type exists in several other temples within this borderland region and can be considered a local architectural response to Tibetan Buddhist ritual practices.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"65 1","pages":"115 - 87"},"PeriodicalIF":0.5,"publicationDate":"2016-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578331","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":"From Studiolo to Chaekgeori, A Transcultural Journey: An Introduction to Sunglim Kim’s “Chaekgeori: Multi-Dimensional Messages in Late Joseon Korea”","authors":"J. Silbergeld","doi":"10.1353/aaa.2016.0008","DOIUrl":"https://doi.org/10.1353/aaa.2016.0008","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"65 1","pages":"239 - 240"},"PeriodicalIF":0.5,"publicationDate":"2016-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578599","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":"Bitter Songs and Poetic Images: An Introduction to Susan Bush’s “Mi Youren’s and Sima Huai’s Joint Poetry Illustrations”","authors":"J. Silbergeld","doi":"10.1353/AAA.2016.0009","DOIUrl":"https://doi.org/10.1353/AAA.2016.0009","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"65 1","pages":"241 - 242"},"PeriodicalIF":0.5,"publicationDate":"2016-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66579256","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}
What was the main principle behind the design strategies developed to prepare painted palm-leaf manuscripts in medieval South Asia? How did various Indic religious communities design their manuscripts? By bringing together surviving painted manuscripts of heterogeneous religious traditions as well as contemporaneous sculptural representations and textual sources relating to the ritual practices involving books, this study suggests that a book was conceived and designed as a temple in Indic context. Taking innovative design strategies of twelfth-century Buddhist manuscripts as a starting point, it also demonstrates how a larger, architectural approach can help us better understand the art of the book in India.
{"title":"Painted Palm-Leaf Manuscripts and the Art of the Book in Medieval South Asia","authors":"Jinah Kim","doi":"10.1353/AAA.2016.0001","DOIUrl":"https://doi.org/10.1353/AAA.2016.0001","url":null,"abstract":"What was the main principle behind the design strategies developed to prepare painted palm-leaf manuscripts in medieval South Asia? How did various Indic religious communities design their manuscripts? By bringing together surviving painted manuscripts of heterogeneous religious traditions as well as contemporaneous sculptural representations and textual sources relating to the ritual practices involving books, this study suggests that a book was conceived and designed as a temple in Indic context. Taking innovative design strategies of twelfth-century Buddhist manuscripts as a starting point, it also demonstrates how a larger, architectural approach can help us better understand the art of the book in India.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"65 1","pages":"57 - 86"},"PeriodicalIF":0.5,"publicationDate":"2016-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578128","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}
Abstract:The Ippen hijiri-e (Illustrated Life of the Holy Man Ippen, 1299) by En’i is distinctive among medieval Japanese hagiographic emaki (picture handscrolls) for its use of a high, distant vantage point in each of the forty-eight scenes. This article situates the Ippen within the development of the landscape handscroll in East Asia. While the Ippen is usually understood as a biographical narative, it can also be seen as an ink landscape journey in handscroll form. A comparison between the Ippen hijiri-e, the Shōjūraigoji Six Realms paintings (before 1307), and the Yamai no sōshi (Scroll of Afflictions, 12th–13th centuries) suggests that the pulled back view also emphasizes the karmic interweaving of actions and individuals in the larger world.
摘要:恩井的《伊本圣人生活画册》(Ippen hijiri-e, 1299年)在中世纪日本的圣徒手卷(图片手卷)中与众不同，因为它在48个场景中都使用了一个高而远的有利位置。本文将Ippen置于东亚山水手卷的发展之中。虽然《笔》通常被理解为传记叙事，但它也可以被视为手卷形式的水墨风景之旅。Ippen hijiri-e, Shōjūraigoji六界画(1307年以前)和Yamai no sōshi(12 - 13世纪的苦难卷轴)之间的比较表明，向后拉的观点也强调了在更大的世界中行为和个人的业力交织。
{"title":"The Pulled Back View: The Illustrated Life of Ippen and the Visibility of Karma in Medieval Japan","authors":"C. Foxwell","doi":"10.1353/AAA.2016.0000","DOIUrl":"https://doi.org/10.1353/AAA.2016.0000","url":null,"abstract":"Abstract:The Ippen hijiri-e (Illustrated Life of the Holy Man Ippen, 1299) by En’i is distinctive among medieval Japanese hagiographic emaki (picture handscrolls) for its use of a high, distant vantage point in each of the forty-eight scenes. This article situates the Ippen within the development of the landscape handscroll in East Asia. While the Ippen is usually understood as a biographical narative, it can also be seen as an ink landscape journey in handscroll form. A comparison between the Ippen hijiri-e, the Shōjūraigoji Six Realms paintings (before 1307), and the Yamai no sōshi (Scroll of Afflictions, 12th–13th centuries) suggests that the pulled back view also emphasizes the karmic interweaving of actions and individuals in the larger world.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"65 1","pages":"25 - 56"},"PeriodicalIF":0.5,"publicationDate":"2016-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577999","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}
Abstract:This essay reconsiders the Qing imperial appropriation of the sacred mountain range of Wutai Shan through a study of three Manchu monasteries, Baodi Si, Baoxiang Si, and Shuxiang Si, built at the court of the Qianlong emperor between 1750 and 1775. Qianlong’s consuming interest in the vision cult of Wutai Shan’s resident deity Mañjuśrī is displayed in the building of the three monasteries, which were all modelled after famed temples at Wutai Shan. An investigation of the ritual, architectural, and artistic productions surrounding the three monasteries reveals the crafting of a distinct Manchu Imperial Buddhist identity centered on Qianlong himself as the apparition of Mañjuśrī at Wutai Shan.
{"title":"Imperial Apparitions: Manchu Buddhism and the Cult of Mañjuśrī","authors":"Wen-shing Chou","doi":"10.1353/AAA.2016.0004","DOIUrl":"https://doi.org/10.1353/AAA.2016.0004","url":null,"abstract":"Abstract:This essay reconsiders the Qing imperial appropriation of the sacred mountain range of Wutai Shan through a study of three Manchu monasteries, Baodi Si, Baoxiang Si, and Shuxiang Si, built at the court of the Qianlong emperor between 1750 and 1775. Qianlong’s consuming interest in the vision cult of Wutai Shan’s resident deity Mañjuśrī is displayed in the building of the three monasteries, which were all modelled after famed temples at Wutai Shan. An investigation of the ritual, architectural, and artistic productions surrounding the three monasteries reveals the crafting of a distinct Manchu Imperial Buddhist identity centered on Qianlong himself as the apparition of Mañjuśrī at Wutai Shan.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"65 1","pages":"139 - 179"},"PeriodicalIF":0.5,"publicationDate":"2016-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578362","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}
Abstract:This paper examines Lang Jingshan’s landscape photography in its historical and political contexts. Tracing Lang’s oeuvre from Shanghai to Chongqing to Taiwan, it also studies how the pictures were commissioned, made, and perceived. I argue that Lang’s photographic art, often considered to be unoriginal and conservative or utopian escapism removed from reality, has in fact engaged with the political and historical turmoil of the times.
{"title":"The Allegorical Landscape: Lang Jingshan’s Photography in Context","authors":"Mia Yinxing Liu","doi":"10.1353/AAA.2016.0006","DOIUrl":"https://doi.org/10.1353/AAA.2016.0006","url":null,"abstract":"Abstract:This paper examines Lang Jingshan’s landscape photography in its historical and political contexts. Tracing Lang’s oeuvre from Shanghai to Chongqing to Taiwan, it also studies how the pictures were commissioned, made, and perceived. I argue that Lang’s photographic art, often considered to be unoriginal and conservative or utopian escapism removed from reality, has in fact engaged with the political and historical turmoil of the times.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"188 1","pages":"1 - 24"},"PeriodicalIF":0.5,"publicationDate":"2016-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578514","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}
Through a close reading of the Śūraṃgama Sutra (Lengyanjing) and an iconographic study of the images, the author concludes that many of the current labels in Wu Bin’s Hua lengyan ershiwu yuantong foxiang ce (Album of the twenty-five dharma-gates of perfect wisdom) are erroneous and proposes new identifications for these Buddhist sages. This paper modifies the well-accepted scholarly opinion that the album is a ‘‘free fabrication of absurdities’’ and shows that Wu Bin, a devoted jushi (Buddhist layman) of the late Ming dynasty, correctly visualized the methods of enlightenment as described in the sutra with his album.
{"title":"Shifting Identities in Wu Bin’s Album of the Twenty-five Dharma-gates of Perfect Wisdom","authors":"Hui-Chi Lo","doi":"10.1353/AAA.2016.0014","DOIUrl":"https://doi.org/10.1353/AAA.2016.0014","url":null,"abstract":"Through a close reading of the Śūraṃgama Sutra (Lengyanjing) and an iconographic study of the images, the author concludes that many of the current labels in Wu Bin’s Hua lengyan ershiwu yuantong foxiang ce (Album of the twenty-five dharma-gates of perfect wisdom) are erroneous and proposes new identifications for these Buddhist sages. This paper modifies the well-accepted scholarly opinion that the album is a ‘‘free fabrication of absurdities’’ and shows that Wu Bin, a devoted jushi (Buddhist layman) of the late Ming dynasty, correctly visualized the methods of enlightenment as described in the sutra with his album.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"66 1","pages":"107 - 151"},"PeriodicalIF":0.5,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66579724","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}
Abstract:Historical records suggest that Nalanda was a Buddhist monastery of considerable repute with immense physical dimensions, which remained in existence from the fourth/fifth century until at least the end of the twelfth. This study investigates the area around Nalanda for evidence of human activity at such spatiotemporal scales using satellite images. Among its finds are: the site is much larger than the property protected by the Archaeological Survey of India; there is evidence of additional temples and monasteries; and there are indications of a large archaeological structure under Begumpur that was either a part of the Nalanda complex or a separate entity.
{"title":"The Expanse of Archaeological Remains at Nalanda: A Study Using Remote Sensing and GIS","authors":"M. B. Rajani","doi":"10.1353/AAA.2016.0010","DOIUrl":"https://doi.org/10.1353/AAA.2016.0010","url":null,"abstract":"Abstract:Historical records suggest that Nalanda was a Buddhist monastery of considerable repute with immense physical dimensions, which remained in existence from the fourth/fifth century until at least the end of the twelfth. This study investigates the area around Nalanda for evidence of human activity at such spatiotemporal scales using satellite images. Among its finds are: the site is much larger than the property protected by the Archaeological Survey of India; there is evidence of additional temples and monasteries; and there are indications of a large archaeological structure under Begumpur that was either a part of the Nalanda complex or a separate entity.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"66 1","pages":"1 - 23"},"PeriodicalIF":0.5,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66578850","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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