The Thousand-armed Mañjuśrī is an enigmatic form of the bodhisattva that appeared primarily in the Mogao cave shrines in northwestern China. There, the deity was nearly always paired with the Thousand-armed Avalokiteśvara on opposite walls or on opposite sides of a doorway. Curiously, this pairing is absent from any of the Buddhist sutras associated with the two. This article argues that texts were a starting point rather than an end point for the establishment of the Thousand-armed Mañjuśrī’s iconographic characteristics, and that the pairing of the two deities is crucial for understanding the gaps between the deity’s textual description and its visual representation.
{"title":"The Thousand-armed Mañjuśrī at Dunhuang and Paired Images in Buddhist Visual Culture","authors":"Michelle C. Wang","doi":"10.1353/AAA.2016.0013","DOIUrl":"https://doi.org/10.1353/AAA.2016.0013","url":null,"abstract":"The Thousand-armed Mañjuśrī is an enigmatic form of the bodhisattva that appeared primarily in the Mogao cave shrines in northwestern China. There, the deity was nearly always paired with the Thousand-armed Avalokiteśvara on opposite walls or on opposite sides of a doorway. Curiously, this pairing is absent from any of the Buddhist sutras associated with the two. This article argues that texts were a starting point rather than an end point for the establishment of the Thousand-armed Mañjuśrī’s iconographic characteristics, and that the pairing of the two deities is crucial for understanding the gaps between the deity’s textual description and its visual representation.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"66 1","pages":"105 - 81"},"PeriodicalIF":0.5,"publicationDate":"2016-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2016.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66579265","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":"Habitat Dioramas: Liu Kuiling’s Animal Paintings in Republican-Era Tianjin","authors":"Lisa Claypool","doi":"10.1353/AAA.2014.0017","DOIUrl":"https://doi.org/10.1353/AAA.2014.0017","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"64 1","pages":"165 - 190"},"PeriodicalIF":0.5,"publicationDate":"2016-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577583","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":"Anne de Coursey Clapp (1928–2013)","authors":"S. Bush","doi":"10.1353/aaa.2014.0009","DOIUrl":"https://doi.org/10.1353/aaa.2014.0009","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"31 1","pages":"93 - 95"},"PeriodicalIF":0.5,"publicationDate":"2015-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/aaa.2014.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577677","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}
Asia Society’s commitment to publishing scholarship on Asian art now has a history of more than half a century. The continuation of Archives of Asian Art has been one of our efforts to foster research and new thinking in the field. In recent years, this has meant the inclusion of contemporary art alongside historical investigations. One of the pioneers in these endeavors has been my predecessor, Dr. Vishakha N. Desai, who stepped down from her position as Asia Society President on September 1, 2012, after a distinguished tenure with the society of 22 years, which she began as Director of Asia Society Museum. While at Asia Society, Dr. Desai published, edited, or contributed to numerous books as well as many articles on traditional and contemporary art. Among the exhibitions for which she received the most praise is Gods, Guardians, and Lovers: Temple Sculptures from North India, A.D. 700–1200, co-curated with Darielle Mason in 1993. Dr. Desai is also well known for commissioning large-scale contemporary art exhibitions in the 1990s, including Asia/America: Identities in Contemporary Asian American Art (1994), Contemporary Art in Asia: Traditions/Tensions (1996), and Inside Out: New Chinese Art (1998), each groundbreaking in its own right. In 2012, she oversaw the inauguration of two major architectural projects for Asia Society centers in Hong Kong and Houston, Texas. Both new buildings include gallery spaces for exhibitions of Asian art. The field of Asian art scholarship has undergone many changes in the past decade, with new archaeological discoveries, the museum boom in Asia that has seen fast-paced collection formation, and the emergence of an appreciation for contemporary art. Asia Society responds to these changes in different ways. Our fall 2014 exhibition in New York focuses on a Korean American artist and his vision of the future through technology such as robotics and computer-generated imagery: Nam June Paik: Becoming Robot. Next spring we present Buddhist Art of Myanmar, the first major American loan exhibition focused on the art and culture of a country largely closed off to the world for decades. Both the exhibition and accompanying scholarly catalogue promise to be significant contributions to our understanding of Myanmar’s culture and Buddhism. In addition to our ongoing plans for exhibitions of traditional, modern, and contemporary art, we are also establishing initiatives designed to respond to the changing landscape of Asian art. Through the formation of the Asia Arts and Museum Network, Asia Society will convene museum professionals from Asia, North America, and Europe for face-to-face discussions to identify and navigate the challenges and opportunities developing in the new museum ecology of Asia. This takes the form of a large-scale annual Arts & Museum Summit at Asia Society Hong Kong Center, which is open to scholars and museum professionals, and the U.S.-China Museum Leaders Forum, which allows American museum professio
亚洲协会致力于出版有关亚洲艺术的学术著作，至今已有半个多世纪的历史。亚洲艺术档案的延续是我们在该领域促进研究和新思维的努力之一。近年来，这意味着将当代艺术纳入历史调查。这些努力的先驱之一是我的前任维沙卡·n·德赛博士，她于2012年9月1日辞去亚洲协会主席一职，她在亚洲协会担任了22年的杰出任期，开始担任亚洲协会博物馆馆长。在亚洲协会工作期间，德赛博士出版、编辑或参与撰写了大量关于传统和当代艺术的书籍和文章。她在1993年与达里尔·梅森(Darielle Mason)共同策划的展览“神、守护者和恋人:北印度寺庙雕塑，公元700-1200年”中获得了最多的赞誉。德赛博士还因在20世纪90年代委托举办大型当代艺术展览而闻名，其中包括“亚洲/美国:当代亚裔美国艺术的身份”(1994年)、“亚洲当代艺术:传统/紧张”(1996年)和“Inside Out: New Chinese art”(1998年)，每一次展览都具有开创性。2012年，她主持了亚洲协会(Asia Society)在香港和德克萨斯州休斯顿的两个大型建筑项目的落成典礼。两座新建筑都包括亚洲艺术展览的画廊空间。在过去的十年里，亚洲艺术研究领域经历了许多变化，有新的考古发现，亚洲博物馆的蓬勃发展带来了快节奏的藏品形成，以及对当代艺术的欣赏。亚洲协会以不同的方式应对这些变化。我们在纽约举办的2014年秋季展览聚焦于一位韩裔美国艺术家，以及他通过机器人技术和计算机生成图像等技术对未来的展望:白南准:成为机器人。明年春天，我们将举办“缅甸佛教艺术”(Buddhist Art of Myanmar)展览，这是美国首次以一个几十年来基本上与世界隔绝的国家的艺术和文化为重点的大型出借展览。展览和随附的学术目录都有望为我们了解缅甸文化和佛教做出重大贡献。除了我们正在进行的传统、现代和当代艺术展览计划外，我们还建立了旨在应对亚洲艺术不断变化的倡议。通过成立亚洲艺术与博物馆网络，亚洲协会将召集来自亚洲、北美和欧洲的博物馆专业人士进行面对面的讨论，以确定和应对亚洲新博物馆生态中发展的挑战和机遇。这包括在亚洲协会香港中心举办的大型年度艺术与博物馆峰会(art & Museum Summit)和美中博物馆领袖论坛(U.S.-China Museum Leaders Forum)，前者对学者和博物馆专业人士开放，后者允许美国博物馆专业人士和中国同行会面并在个人层面上建立联系，共同开发项目。在中国政府宣布将在未来十年内新建数千家博物馆之后，中国迫切需要与北美同行交流知识和最佳实践。亚洲艺术档案在通过研究揭示亚洲艺术新思维方面发挥着重要作用。听取艺术史学家的意见一如既往地重要——他们的研究领域、理论、对历史先入之见的挑战，以及将过去与现在联系起来的方式。档案馆是为数不多的进行此类讨论的论坛之一。
{"title":"Asia Society Statement","authors":"Melissa C. Chiu","doi":"10.1353/aaa.2014.0010","DOIUrl":"https://doi.org/10.1353/aaa.2014.0010","url":null,"abstract":"Asia Society’s commitment to publishing scholarship on Asian art now has a history of more than half a century. The continuation of Archives of Asian Art has been one of our efforts to foster research and new thinking in the field. In recent years, this has meant the inclusion of contemporary art alongside historical investigations. One of the pioneers in these endeavors has been my predecessor, Dr. Vishakha N. Desai, who stepped down from her position as Asia Society President on September 1, 2012, after a distinguished tenure with the society of 22 years, which she began as Director of Asia Society Museum. While at Asia Society, Dr. Desai published, edited, or contributed to numerous books as well as many articles on traditional and contemporary art. Among the exhibitions for which she received the most praise is Gods, Guardians, and Lovers: Temple Sculptures from North India, A.D. 700–1200, co-curated with Darielle Mason in 1993. Dr. Desai is also well known for commissioning large-scale contemporary art exhibitions in the 1990s, including Asia/America: Identities in Contemporary Asian American Art (1994), Contemporary Art in Asia: Traditions/Tensions (1996), and Inside Out: New Chinese Art (1998), each groundbreaking in its own right. In 2012, she oversaw the inauguration of two major architectural projects for Asia Society centers in Hong Kong and Houston, Texas. Both new buildings include gallery spaces for exhibitions of Asian art. The field of Asian art scholarship has undergone many changes in the past decade, with new archaeological discoveries, the museum boom in Asia that has seen fast-paced collection formation, and the emergence of an appreciation for contemporary art. Asia Society responds to these changes in different ways. Our fall 2014 exhibition in New York focuses on a Korean American artist and his vision of the future through technology such as robotics and computer-generated imagery: Nam June Paik: Becoming Robot. Next spring we present Buddhist Art of Myanmar, the first major American loan exhibition focused on the art and culture of a country largely closed off to the world for decades. Both the exhibition and accompanying scholarly catalogue promise to be significant contributions to our understanding of Myanmar’s culture and Buddhism. In addition to our ongoing plans for exhibitions of traditional, modern, and contemporary art, we are also establishing initiatives designed to respond to the changing landscape of Asian art. Through the formation of the Asia Arts and Museum Network, Asia Society will convene museum professionals from Asia, North America, and Europe for face-to-face discussions to identify and navigate the challenges and opportunities developing in the new museum ecology of Asia. This takes the form of a large-scale annual Arts & Museum Summit at Asia Society Hong Kong Center, which is open to scholars and museum professionals, and the U.S.-China Museum Leaders Forum, which allows American museum professio","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"64 1","pages":"1 - 1"},"PeriodicalIF":0.5,"publicationDate":"2015-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/aaa.2014.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577775","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}
Hong Jungsil Jenny Nathaniel Sunpyo, J. Lee, Nathaniel Kingdon
The compilation of Kŭnyŏk sŏhwa sa 槿域書畵史 (History of Korean painting and calligraphy) by O Sech’ang 吳世昌 (1864–1953) in 1917 represents the first tangible achievement of a growing ‘‘national’’ and ‘‘independent’’ self-consciousness regarding Korean art history. When, in 1928, the manuscript was typeset and republished by the Kyemyŏng kurakpu 啓明俱樂部 (Enlightenment Club) and widely distributed by Ch’oe Namsŏn 崔南善 (1890–1957) under the new title Kŭnyŏk sŏhwa ching 槿域書畵徵 (Biographical records of Korean painters and calligraphers), it became the foundation for all future Korean art historical scholarship. This article aims to illuminate the art historical significance of this event through an investigation of the motivation for compiling Kŭnyŏk sŏhwa sa and for publishing Kŭnyŏk sŏhwa ching.
{"title":"O Sech’ang’s Compilation of Kŭnyŏk sŏhwa sa 槿域 書畵史 (History of Korean painting and calligraphy) and the Publication of Kŭnyŏk sŏhwa ching 槿域 書畵徵 (Biographical records of Korean painters and calligraphers)","authors":"Hong Jungsil Jenny Nathaniel Sunpyo, J. Lee, Nathaniel Kingdon","doi":"10.1353/AAA.2014.0002","DOIUrl":"https://doi.org/10.1353/AAA.2014.0002","url":null,"abstract":"The compilation of Kŭnyŏk sŏhwa sa 槿域書畵史 (History of Korean painting and calligraphy) by O Sech’ang 吳世昌 (1864–1953) in 1917 represents the first tangible achievement of a growing ‘‘national’’ and ‘‘independent’’ self-consciousness regarding Korean art history. When, in 1928, the manuscript was typeset and republished by the Kyemyŏng kurakpu 啓明俱樂部 (Enlightenment Club) and widely distributed by Ch’oe Namsŏn 崔南善 (1890–1957) under the new title Kŭnyŏk sŏhwa ching 槿域書畵徵 (Biographical records of Korean painters and calligraphers), it became the foundation for all future Korean art historical scholarship. This article aims to illuminate the art historical significance of this event through an investigation of the motivation for compiling Kŭnyŏk sŏhwa sa and for publishing Kŭnyŏk sŏhwa ching.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"63 1","pages":"155 - 163"},"PeriodicalIF":0.5,"publicationDate":"2014-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577264","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}
Kim Jo Cheon Park Haewon, Jo Yeontae, Cheon Juhyun, Park Seungwon
The National Museum of Korea in Seoul (hereafter NMK) houses part of the Ōtani collection, consisting of artifacts collected between 1902 and 1914 during archaeological expeditions organized by Ōtani Kōzui (1876–1948) in various parts of Asia, including Central Asia, Tibet, and India. Most of the Ōtani artifacts at NMK are from the Xinjiang Uighur Autonomous Region in China. One of the major issues in the study of these artifacts has been the difficulty of identifying individual pieces, as the original documents written by those who participated in the Ōtani expeditions rarely record the context of their excavation. The basic information on the artifacts was recorded on a master list, which is thought to have been composed when they were brought to Korea in 1916, but the list has been found to contain many errors. In this context, it is particularly important that these artifacts be subjected to scientific investigation in the hopes of finding evidence to support theories of their identification and origin, which have thus far been based mostly on art historical research. In 2012 curators and conservators of NMK conducted collaborative research on the paintings from the collection and were able to find additional information that helps to identify the artifacts. This essay introduces the major findings of that research, which involves Mı̄rān paintings, Pran ̇ idhi paintings from the Bezeklik Caves, and paintings from the Toyuk Caves.
{"title":"New Research on Central Asian Paintings in the National Museum of Korea","authors":"Kim Jo Cheon Park Haewon, Jo Yeontae, Cheon Juhyun, Park Seungwon","doi":"10.1353/AAA.2014.0003","DOIUrl":"https://doi.org/10.1353/AAA.2014.0003","url":null,"abstract":"The National Museum of Korea in Seoul (hereafter NMK) houses part of the Ōtani collection, consisting of artifacts collected between 1902 and 1914 during archaeological expeditions organized by Ōtani Kōzui (1876–1948) in various parts of Asia, including Central Asia, Tibet, and India. Most of the Ōtani artifacts at NMK are from the Xinjiang Uighur Autonomous Region in China. One of the major issues in the study of these artifacts has been the difficulty of identifying individual pieces, as the original documents written by those who participated in the Ōtani expeditions rarely record the context of their excavation. The basic information on the artifacts was recorded on a master list, which is thought to have been composed when they were brought to Korea in 1916, but the list has been found to contain many errors. In this context, it is particularly important that these artifacts be subjected to scientific investigation in the hopes of finding evidence to support theories of their identification and origin, which have thus far been based mostly on art historical research. In 2012 curators and conservators of NMK conducted collaborative research on the paintings from the collection and were able to find additional information that helps to identify the artifacts. This essay introduces the major findings of that research, which involves Mı̄rān paintings, Pran ̇ idhi paintings from the Bezeklik Caves, and paintings from the Toyuk Caves.","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"63 1","pages":"165 - 178"},"PeriodicalIF":0.5,"publicationDate":"2014-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577301","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}
The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年 をインディアンと共に), this colorful narrative actually recounts a passage throughout North Ame
日本画家北川田司(1894-1989)是一个特别有价值的主题，因为他思考了一系列关于绘画在20世纪早期混乱的经验中作为获取和产生社会知识的工具的能力的问题。作为一个旅行者的画家，他如何运用自己的媒介去追求在异国他乡遇到的陌生人的知识呢?而且，在长期定居国外之后，一个移居海外的日本画家如何利用这种媒介让当地人了解自己呢?最后，这种面向社会需求的绘画实践如何也有助于画家的自我认识，通过多年的移民和随后的重新进入日本社会的演变?北川在东京早稻田大学预备学院短暂学习了一段时间的油画后，20岁时从日本搬到美国，在那里呆了7年(1914-21)，然后搬到墨西哥，在那里住了15年，直到42岁(1921-36)，最后在日本度过了他漫长的一生。本研究聚焦于北川用具象绘画的媒介来调解他在旅行和艺术成熟的形成年代中遇到的种族和文化差异，以及他在回国后的第一个十年中对日本社会的重新适应。20世纪初，在美国和墨西哥，相对较少的日本人给了他一个特殊的地位，这给他的绘画追求带来了不同的障碍和更大的不稳定性，而旅行者的身份使他们处于更既定的刻板印象、歧视或特权接待模式中。杜波依斯(W. E. B. Du Bois)曾在1903年写过一篇著名的文章，描述了“肤色线上的可怕鸿沟，人们在跨越这个鸿沟时将面临危险”，但由于20世纪初北美的亚洲人通常在肤色线的两端找到更少的身份识别模板——无论是有益的还是有害的——因此，与人口更多的群体相比，跨越“可怕鸿沟”的命运可能没有那么预先确定的结果。正如我们将看到的，北川在颜色线上穿越鸿沟的故事尤其值得注意，因为他在作为艺术家的职业生涯中创造性地运用了颜料的颜色。对北川的研究是有益的，不仅因为他自己和其他人的画提供了他旅行的富有表现力的视觉记录，而且因为这些图像进一步阐明了日本语的自传体叙述，艺术家于1955年出版，回到日本近二十年后。虽然题目是《墨西哥的青年:与印第安人在一起的十五年》(美智子不生顺)。jūgonen o indeian tomo倪メキシコの青春:十五年をインディアンと共に),实际上这丰富多彩的故事讲述了一段在北美,从他的到来在西海岸,继续他在纽约,接下来通过南部旅行,然后在古巴,最后通过墨西哥,在那里,他经历了不同的地区从城市社区在墨西哥城一个贫穷农村印度农业社区。北川展示了讲故事的天赋，他的叙述的读者可能会想知道，他所描述的一些冒险是多么接近事实，但毫无疑问，这篇文章中表达的挫折、失望和渴望与推动这位艺术家踏上非凡旅程的激情有着密切的关系。当然，北川的绘画和后来的著作并没有提供他旅行的“客观”记录;接下来是艺术家对他所遇到的各种社会环境的即时和事后的主观反应的同情和有时怀疑的描述。
{"title":"Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other","authors":"Bert Winther-Tamaki","doi":"10.1353/AAA.2014.0005","DOIUrl":"https://doi.org/10.1353/AAA.2014.0005","url":null,"abstract":"The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年 をインディアンと共に), this colorful narrative actually recounts a passage throughout North Ame","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"63 1","pages":"189 - 207"},"PeriodicalIF":0.5,"publicationDate":"2014-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577057","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":"Donald F. McCallum (1939–2013)","authors":"S. Fowler","doi":"10.1353/AAA.2014.0007","DOIUrl":"https://doi.org/10.1353/AAA.2014.0007","url":null,"abstract":"","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"28 1","pages":"211 - 213"},"PeriodicalIF":0.5,"publicationDate":"2014-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66577205","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}
Zhang Jin 張錦 was the leading master of Buddhist and Daoist figure painting in the mid-Ming court. Yet his name is little known in current Ming painting history. This is not surprising considering that, until recently, the entirety of early and mid-Ming court painting, which played an important role in setting new trends during this time, has been a relatively unexplored area. Even less is known about the Ming Painting Academy. In fact, the lack of information on the Ming Painting Academy has led many scholars to question its very existence. In order to fill this gap in Chinese painting history, I have dedicated much of my past research to the task of reconstructing the missing biographies of the Ming court painters and tracing the institutional history of the Painting Academy. My initial discovery including new dates and biographical information for Zhang Jin and four generations of his family was more than a decade ago. However, without a single surviving painting attributed to the Zhang masters, they seemed destined to remain in the archival realm of Ming painting history. This all changed, however, by the recent discovery of a painting by Zhang Jin (Fig. 1), which sheds new light on not only the outstanding achievements of the Zhang masters, but also their contribution to the emerging trend of Daoist figure painting. Even more importantly, through a subsequent reexamination of the Zhang masters’ careers, I was able to gain new insight into the still enigmatic military-artisan painters and the military ranking system of the Ming Painting Academy. To fully understand the reconstructed careers of Zhang Jin and his family, it is necessary to first briefly introduce the institutional history of the Ming Painting Academy. The first part of this essay traces the formation and major institutional changes of the academy. The second part reexamines the career of Zhang Jin and how his family entered the Ming court from a military background in Shandong. The final part introduces the recently discovered painting by Zhang Jin and the Zhang family’s role in setting a new trend in Daoist figure painting in the mid-Ming court. The Ming Painting Academy
{"title":"Rediscovering Zhang Jin and the Ming Painting Academy","authors":"Hou-mei Sung","doi":"10.1353/AAA.2014.0004","DOIUrl":"https://doi.org/10.1353/AAA.2014.0004","url":null,"abstract":"Zhang Jin 張錦 was the leading master of Buddhist and Daoist figure painting in the mid-Ming court. Yet his name is little known in current Ming painting history. This is not surprising considering that, until recently, the entirety of early and mid-Ming court painting, which played an important role in setting new trends during this time, has been a relatively unexplored area. Even less is known about the Ming Painting Academy. In fact, the lack of information on the Ming Painting Academy has led many scholars to question its very existence. In order to fill this gap in Chinese painting history, I have dedicated much of my past research to the task of reconstructing the missing biographies of the Ming court painters and tracing the institutional history of the Painting Academy. My initial discovery including new dates and biographical information for Zhang Jin and four generations of his family was more than a decade ago. However, without a single surviving painting attributed to the Zhang masters, they seemed destined to remain in the archival realm of Ming painting history. This all changed, however, by the recent discovery of a painting by Zhang Jin (Fig. 1), which sheds new light on not only the outstanding achievements of the Zhang masters, but also their contribution to the emerging trend of Daoist figure painting. Even more importantly, through a subsequent reexamination of the Zhang masters’ careers, I was able to gain new insight into the still enigmatic military-artisan painters and the military ranking system of the Ming Painting Academy. To fully understand the reconstructed careers of Zhang Jin and his family, it is necessary to first briefly introduce the institutional history of the Ming Painting Academy. The first part of this essay traces the formation and major institutional changes of the academy. The second part reexamines the career of Zhang Jin and how his family entered the Ming court from a military background in Shandong. The final part introduces the recently discovered painting by Zhang Jin and the Zhang family’s role in setting a new trend in Daoist figure painting in the mid-Ming court. The Ming Painting Academy","PeriodicalId":41400,"journal":{"name":"ARCHIVES OF ASIAN ART","volume":"158 1","pages":"179 - 187"},"PeriodicalIF":0.5,"publicationDate":"2014-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/AAA.2014.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66576849","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：