Pub Date : 2022-07-03DOI: 10.1080/17561310.2022.2114674
Tan Zi Hao
Abstract The makara is a chimeric creature composed of parts from an elephant, a crocodile, a fish, and others. As an iconography derived from early Indian traditions, the makara has traversed the Indian Ocean, making its mark principally on Hindu-Buddhist monuments and ceremonial paraphernalia in South and Southeast Asia. Looking at select objects spanning centuries, a longue durée approach to the makara is conceived to attend to the migration of an iconography that has been translated into different registers. Unraveling the latent affinities among the manifold forms of the makara, this essay foregrounds the transregional trace of a chimera customarily sidelined in historical analyses. A loose chronology directs the course of the essay, proceeding from ancient relics to early modern weaponry, and culminating with the half-lion and half-fish Merlion, the national icon of Singapore. By navigating the vicissitudes of the chimeric trace of the makara, this essay demonstrates how transcultural encounters occur in ways that eschew pre-established assumptions of culture.
{"title":"The Chimeric Trace: The Makara and Other Connections to Come","authors":"Tan Zi Hao","doi":"10.1080/17561310.2022.2114674","DOIUrl":"https://doi.org/10.1080/17561310.2022.2114674","url":null,"abstract":"Abstract The makara is a chimeric creature composed of parts from an elephant, a crocodile, a fish, and others. As an iconography derived from early Indian traditions, the makara has traversed the Indian Ocean, making its mark principally on Hindu-Buddhist monuments and ceremonial paraphernalia in South and Southeast Asia. Looking at select objects spanning centuries, a longue durée approach to the makara is conceived to attend to the migration of an iconography that has been translated into different registers. Unraveling the latent affinities among the manifold forms of the makara, this essay foregrounds the transregional trace of a chimera customarily sidelined in historical analyses. A loose chronology directs the course of the essay, proceeding from ancient relics to early modern weaponry, and culminating with the half-lion and half-fish Merlion, the national icon of Singapore. By navigating the vicissitudes of the chimeric trace of the makara, this essay demonstrates how transcultural encounters occur in ways that eschew pre-established assumptions of culture.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"338 - 370"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48999131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/17561310.2022.2120343
C. Ndubuisi
Abstract This paper discusses the influence on three Catholic churches in Lagos of the short-lived Oye-Ekiti Christian Art Workshop (1947-1954) and questions how the philosophy of the workshop and the artworks it produced are regarded today. The study traces the history of the Christian religion in Nigeria and the religious beliefs of the Nigerian people before the arrival of Christianity. It also examines the synthesis of traditional Yoruba art and the Christian religion introduced by the Oye-Ekiti, and interrogates the opposition of some church leaders in recent times to representations of Christian images in Yoruba indigenous forms. This opposition, which has led to the rejection and subsequent removal of artworks that formerly adorned the three Lagos churches is contextualized in interviews with the parish priests of these three churches. It is argued that Nigerian art is rich in signs and symbols due to its multi-ethnic, diverse culture and religious beliefs and proposes that the Oye-Ekiti Christian Art Workshop was necessary because it promoted indigenous art as a potential cultural vehicle for Christian liturgy in Nigeria.
{"title":"The Oye-Ekiti Christian Art Workshop and the Fusion of the European Catholic Tradition and Nigerian Indigenous Art in Three Lagos Churches","authors":"C. Ndubuisi","doi":"10.1080/17561310.2022.2120343","DOIUrl":"https://doi.org/10.1080/17561310.2022.2120343","url":null,"abstract":"Abstract This paper discusses the influence on three Catholic churches in Lagos of the short-lived Oye-Ekiti Christian Art Workshop (1947-1954) and questions how the philosophy of the workshop and the artworks it produced are regarded today. The study traces the history of the Christian religion in Nigeria and the religious beliefs of the Nigerian people before the arrival of Christianity. It also examines the synthesis of traditional Yoruba art and the Christian religion introduced by the Oye-Ekiti, and interrogates the opposition of some church leaders in recent times to representations of Christian images in Yoruba indigenous forms. This opposition, which has led to the rejection and subsequent removal of artworks that formerly adorned the three Lagos churches is contextualized in interviews with the parish priests of these three churches. It is argued that Nigerian art is rich in signs and symbols due to its multi-ethnic, diverse culture and religious beliefs and proposes that the Oye-Ekiti Christian Art Workshop was necessary because it promoted indigenous art as a potential cultural vehicle for Christian liturgy in Nigeria.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"230 - 254"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46219486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/17561310.2022.2116163
C. Hille
The academic career of Munich art historian Max Loehr (Fig. 1) tells a story of personal migration, of transcending the boundaries between disciplines, of the exodus of East Asian art history from Germany between the two world wars. Unlike the overwhelming majority of his peers, however, in 1940 Loehr initially moved not to the United States but east: to the Republic of China under Chiang Kai-shek. After almost ten years spent researching and teaching in Beijing, he was forced to leave the country on the eve of the takeover by Mao Tse-tung and his Communist Party. In 1951, via Hong Kong, Paris, and, for another Translated by Richard George Elliott from German
{"title":"Max Ernst Loehr (1903–88): Principles of a Chinese Art History in Munich","authors":"C. Hille","doi":"10.1080/17561310.2022.2116163","DOIUrl":"https://doi.org/10.1080/17561310.2022.2116163","url":null,"abstract":"The academic career of Munich art historian Max Loehr (Fig. 1) tells a story of personal migration, of transcending the boundaries between disciplines, of the exodus of East Asian art history from Germany between the two world wars. Unlike the overwhelming majority of his peers, however, in 1940 Loehr initially moved not to the United States but east: to the Republic of China under Chiang Kai-shek. After almost ten years spent researching and teaching in Beijing, he was forced to leave the country on the eve of the takeover by Mao Tse-tung and his Communist Party. In 1951, via Hong Kong, Paris, and, for another Translated by Richard George Elliott from German","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"255 - 268"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43437569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/17561310.2022.2118978
Yazan Alloujami
Abstract The British-Palestinian contemporary artist Mona Hatoum combines the legacy of western avant-gardes with highly politicized everyday objects from the Arab region, resulting in a number of “bilingual” artworks operating on two referential systems at once. This article examines the plastic strategies behind this phenomenon, as well as some of the confusion it has caused in critical reception. With the aid of historical sources and comparative elements, a reconsideration of three main works by Hatoum will reveal how a more modernist approach, instead of the postmodern one usually associated with them, may better account for their hybridity.
{"title":"The Intericonic Objects of Mona Hatoum: Our Modernity that Remains","authors":"Yazan Alloujami","doi":"10.1080/17561310.2022.2118978","DOIUrl":"https://doi.org/10.1080/17561310.2022.2118978","url":null,"abstract":"Abstract The British-Palestinian contemporary artist Mona Hatoum combines the legacy of western avant-gardes with highly politicized everyday objects from the Arab region, resulting in a number of “bilingual” artworks operating on two referential systems at once. This article examines the plastic strategies behind this phenomenon, as well as some of the confusion it has caused in critical reception. With the aid of historical sources and comparative elements, a reconsideration of three main works by Hatoum will reveal how a more modernist approach, instead of the postmodern one usually associated with them, may better account for their hybridity.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"269 - 296"},"PeriodicalIF":0.0,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44151552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/17561310.2022.2046532
Mário Barata
Abstract Writing in the late 1950s, Barata deplores the ongoing neglect of the study of black sculpture in Brazil, despite earlier publications, notably those by Raimundo Nina Rodrigues and Manuel Querino. He highlights the stylistic diversities and various influences perceived in Brazilian sculpture. He raises questions about the development of artistic production in relation to the changes that occurred in Afro-Brazilian religions. He further reflects on the historical connections between Brazil and Nigeria, the slave trade and the trade of goods in order to draw attention to the difficulty of distinguishing between African sculptures from those made in Brazil by Africans and their descendants.
{"title":"The Sculpture of Black Origin in Brazil","authors":"Mário Barata","doi":"10.1080/17561310.2022.2046532","DOIUrl":"https://doi.org/10.1080/17561310.2022.2046532","url":null,"abstract":"Abstract Writing in the late 1950s, Barata deplores the ongoing neglect of the study of black sculpture in Brazil, despite earlier publications, notably those by Raimundo Nina Rodrigues and Manuel Querino. He highlights the stylistic diversities and various influences perceived in Brazilian sculpture. He raises questions about the development of artistic production in relation to the changes that occurred in Afro-Brazilian religions. He further reflects on the historical connections between Brazil and Nigeria, the slave trade and the trade of goods in order to draw attention to the difficulty of distinguishing between African sculptures from those made in Brazil by Africans and their descendants.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"96 - 102"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47559676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/17561310.2022.2046517
Manuel Querino
Abstract Published in 1916, Querino’s text is one of the earliest studies to focus on Afro-Brazilian visual and material culture, whilst also denouncing the marginalisation of Brazilian people of African origin. After drawing attention to the lack of knowledge of African traditions in Brazil, he provides information on customs in West and Central Africa (Querino refers to those areas as Niger and Congo), the slave trade, and slavery in Brazil. The second part of the text focuses on the Candomblé religion, providing information on its deities, symbolism, rituals, ritualistic spaces, garments, and objects. Querino connects sculptural objects with the idea of fine art. He concludes his text with a section on the Afro-Brazilian revolt of 1835.
{"title":"The African Race and its Customs in Bahia","authors":"Manuel Querino","doi":"10.1080/17561310.2022.2046517","DOIUrl":"https://doi.org/10.1080/17561310.2022.2046517","url":null,"abstract":"Abstract Published in 1916, Querino’s text is one of the earliest studies to focus on Afro-Brazilian visual and material culture, whilst also denouncing the marginalisation of Brazilian people of African origin. After drawing attention to the lack of knowledge of African traditions in Brazil, he provides information on customs in West and Central Africa (Querino refers to those areas as Niger and Congo), the slave trade, and slavery in Brazil. The second part of the text focuses on the Candomblé religion, providing information on its deities, symbolism, rituals, ritualistic spaces, garments, and objects. Querino connects sculptural objects with the idea of fine art. He concludes his text with a section on the Afro-Brazilian revolt of 1835.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"8 - 72"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60397050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/17561310.2022.2046531
Odorico Tavares
Abstract Tavares first discusses the connections between European modern artists and “primitive art” and then turns to the contributions made by pioneering writers on Afro-Brazilian sculpture, notably, Raimondo Nina Rodrigues’ essay “As Bellas-Artes nos Colonos Pretos do Brazil. A Esculptura” (1904) and Arthur Ramos’ “Arte Negra no Brasil” (1949). Tavares not only shows the importance of both authors in the study of this type of sculpture in Bahia but also highlights important issues, such as authorship and provenance.
塔瓦雷斯首先讨论了欧洲现代艺术家与“原始艺术”之间的联系，然后转向开创性作家对非裔巴西雕塑的贡献，特别是Raimondo Nina Rodrigues的文章“As Bellas-Artes nos Colonos Pretos do Brazil”。《雕塑》(1904)和亚瑟·拉莫斯的《巴西黑人艺术》(1949)。塔瓦雷斯不仅展示了两位作者在研究巴伊亚这类雕塑方面的重要性，还突出了作者和出处等重要问题。
{"title":"The Afro-Brazilian Sculpture in Bahia","authors":"Odorico Tavares","doi":"10.1080/17561310.2022.2046531","DOIUrl":"https://doi.org/10.1080/17561310.2022.2046531","url":null,"abstract":"Abstract Tavares first discusses the connections between European modern artists and “primitive art” and then turns to the contributions made by pioneering writers on Afro-Brazilian sculpture, notably, Raimondo Nina Rodrigues’ essay “As Bellas-Artes nos Colonos Pretos do Brazil. A Esculptura” (1904) and Arthur Ramos’ “Arte Negra no Brasil” (1949). Tavares not only shows the importance of both authors in the study of this type of sculpture in Bahia but also highlights important issues, such as authorship and provenance.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"14 1","pages":"82 - 95"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41757537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/17561310.2021.1951964
Jérôme de La Lande, Gay McAuley
{"title":"The Art of Making Parchment","authors":"Jérôme de La Lande, Gay McAuley","doi":"10.1080/17561310.2021.1951964","DOIUrl":"https://doi.org/10.1080/17561310.2021.1951964","url":null,"abstract":"","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"13 1","pages":"326 - 386"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46269390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-10-02DOI: 10.1080/17561310.2021.1951966
Zeger Hendrik de Groot, Caroline Danforth
{"title":"The Manufacture of Goldbeater’s Skin, Transparent Parchment, and Split Parchment 1","authors":"Zeger Hendrik de Groot, Caroline Danforth","doi":"10.1080/17561310.2021.1951966","DOIUrl":"https://doi.org/10.1080/17561310.2021.1951966","url":null,"abstract":"","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"13 1","pages":"408 - 418"},"PeriodicalIF":0.0,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49635982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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