“Recycling and reuse” of materials indisputably characterizes the genre of calligraphy albums known as tekagami (“mirrors of exemplary hands”), and this is of course true of the Beinecke Rare Book and Manuscript Library’s Tekagamijō, first assembled ca. 1670. It is indeed composed of dispersed textual out-takes and fragments of many kinds (dating from the eighth century to the seventeenth). Although these albums stabilize the condition of text fragments, their contents and structures often also remain fluid—and in fact, certain samples in the Tekagamijō were modified and replaced right up to the time of its acquisition for Yale in 1934. My studies of classical Japanese poetry have also been concerned with “recycling and reuse” in the textual dimension: waka are made up of borrowings, of rearranged and reassembled fragments of other poems in seemingly endless recycling chains. But so, in yet another sense, are anthologies of waka, which bring poems together from disparate points of origin and multiple contexts to create new arrangements that, in turn, allow for further recycling and reuse of their wholes and their parts as they flow through space and time. This article explores the resonance among these forms with a focus on examples of waka poems, reproduced in whole or in part, in the Tekagamijō.材料の「リサイクルとリユース」は、多くの古筆を集めて一つにまとめた、「手鑑」として知られる作品の紛れもない特徴である。このことは、1670年頃に作成された、イエール大学バイネッケ稀覯本図書館所蔵の「手鑑帖」にも当てはまる。事実この「手鑑帖」は、これまで選集などに収録されなかった作品や、さまざまな古筆の断片（8世紀から17世紀にまたがる）で構成されている。手鑑に収録されたことによって、断片的な古筆の状態は安定した。しかし手鑑そのものの内容や構成は決して固定的なものではなかった。実際、この「手鑑帖」の場合も、1934年にイェール大学が入手したそのときまで、部分的な変更や入れ換えが行われていたのだ。古典和歌に関する筆者の研究でも、文書の「リサイクルとリユース」は重要な意味を持つ。なぜなら和歌は、先行する和歌から言葉や意味を借用したり、断片を組み合わせなおして配置替えを行ったりするなど、いわば絶えずリサイクルを繰り返したからだ。和歌の選集もまた、別の意味で同様である。時代や背景が全く異なる和歌を一堂に集め、新たな配置を与えて作られた選集は、それが世に出た後には、さらにその一部、あるいは全部のリサイクルやリユースを行うことを可能にしているからだ。本論文では、「手鑑帖」に全体あるいは一部が採用された和歌に注目して、和歌と手鑑がいかに互いに共鳴しあっているかを探る。
“Recycling and reuse”of materials indisputably characterizes the genre of calligraphy albums known as tekagami（“mirrors of exemplary hands”），and this is of course true of the Beinecke Rare Book and Manuscript Library’s Tekagamijō, first assembled ca.1670。It is indeed composed of dispersed textual out-takes and fragments of many kinds（dating from the eighth century to the sevententh）。Although these albums stabilize the condition of text fragments，their contents and structures often also remain fluid-and in fact，certain samples in the Tekagamijō were modified and replaced right up to the time of its acquisition for Yale in 1934。y studies of classical Japan ese poetry have also been concerned with“recycling and reuse”in the textual dimension:waka are made up of borrowings，of rearranged and reassembled fragments of other poems in seemingly endless recycling chains。But so，in yet another sense，are anthologies of waka，which bring poems together from disparate points of origin and multiple contexts to create new arrangements that，in turn，allow for further recycling and reuse of their wholes and their paras they flow through space and time。This article explores the resonance among these forms with a focus on examples of waka poems，reproduced in whole or in part，in the Tekagamijō.材料的「再利用与再利用」，是汇集了许多古笔整理成一个的，作为「手鉴」被知道的作品的不混淆的特征。这也适用于1670年左右制作的耶鲁大学贝内克珍本图书馆收藏的“手鉴帖”。事实上，这本《手鉴帖》是由至今为止没有收录在选集中的作品和各种各样的古笔片段（跨越8世纪到17世纪）构成的。由于收录在手鉴中，零散的古笔状态稳定下来了。但是，手鉴本身的内容和构成并不是固定的。实际上，这个“手鉴帖”在1934年耶鲁大学获得的时候，也进行了部分的变更和更换。在笔者关于古典和歌的研究中，文献的“再利用与再利用”也具有重要的意义。因为和歌是从先行的和歌中借用语言和意思，或者重新组合片段进行配置等，可以说是不断地重复再利用。和歌的选集在其他意义上也是一样的。这是因为，将时代和背景完全不同的和歌汇聚一堂，赋予新的配置而制作的选集，在其问世后，还可以进行其中的一部分或全部的再利用和再利用。本论文关注《手鉴帖》采用整体或部分的和歌，探寻和歌与手鉴是如何相互共鸣的。
{"title":"Reading Tekagamijō: Fragmentation and Reintegration in a Seventeenth-Century Calligraphy Album","authors":"E. Kamens","doi":"10.3998/ars.3988","DOIUrl":"https://doi.org/10.3998/ars.3988","url":null,"abstract":"“Recycling and reuse” of materials indisputably characterizes the genre of calligraphy albums known as tekagami (“mirrors of exemplary hands”), and this is of course true of the Beinecke Rare Book and Manuscript Library’s Tekagamijō, first assembled ca. 1670. It is indeed composed of dispersed textual out-takes and fragments of many kinds (dating from the eighth century to the seventeenth). Although these albums stabilize the condition of text fragments, their contents and structures often also remain fluid—and in fact, certain samples in the Tekagamijō were modified and replaced right up to the time of its acquisition for Yale in 1934. My studies of classical Japanese poetry have also been concerned with “recycling and reuse” in the textual dimension: waka are made up of borrowings, of rearranged and reassembled fragments of other poems in seemingly endless recycling chains. But so, in yet another sense, are anthologies of waka, which bring poems together from disparate points of origin and multiple contexts to create new arrangements that, in turn, allow for further recycling and reuse of their wholes and their parts as they flow through space and time. This article explores the resonance among these forms with a focus on examples of waka poems, reproduced in whole or in part, in the Tekagamijō.材料の「リサイクルとリユース」は、多くの古筆を集めて一つにまとめた、「手鑑」として知られる作品の紛れもない特徴である。このことは、1670年頃に作成された、イエール大学バイネッケ稀覯本図書館所蔵の「手鑑帖」にも当てはまる。事実この「手鑑帖」は、これまで選集などに収録されなかった作品や、さまざまな古筆の断片（8世紀から17世紀にまたがる）で構成されている。手鑑に収録されたことによって、断片的な古筆の状態は安定した。しかし手鑑そのものの内容や構成は決して固定的なものではなかった。実際、この「手鑑帖」の場合も、1934年にイェール大学が入手したそのときまで、部分的な変更や入れ換えが行われていたのだ。古典和歌に関する筆者の研究でも、文書の「リサイクルとリユース」は重要な意味を持つ。なぜなら和歌は、先行する和歌から言葉や意味を借用したり、断片を組み合わせなおして配置替えを行ったりするなど、いわば絶えずリサイクルを繰り返したからだ。和歌の選集もまた、別の意味で同様である。時代や背景が全く異なる和歌を一堂に集め、新たな配置を与えて作られた選集は、それが世に出た後には、さらにその一部、あるいは全部のリサイクルやリユースを行うことを可能にしているからだ。本論文では、「手鑑帖」に全体あるいは一部が採用された和歌に注目して、和歌と手鑑がいかに互いに共鳴しあっているかを探る。","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48889721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Buddhist temple bells (bonshō) are a precious feature of almost every Japanese temple. These bells often have a singular status within their environment, with a strong aural and visual presence prominently positioned in their own structure. While most past studies of Buddhist bells have concentrated on their inscriptions, craftsmanship, technologies, or sound, this article will focus on how approximately 45,000 of them disappeared during the late 1930s and mid-1940s. During the Asia-Pacific War, as metals grew scarce, temple bells became a material resource for munition production. Why were temples and shrines convinced to give up their bells that embodied the hopes and vows of past donors? What was the process of transformation from a religious instrument used to comfort the dead into an object that would destroy life? Four case studies, presented as object biographies of bells that date from the seventeenth to eighteenth centuries, will be examined to consider these questions, as well as how these bells managed to escape the fate of being melted down and the international, national, and local ramifications of reuniting these survivors with their original temples.梵鐘は、日本のほとんどの仏教寺院に欠かせないものである。寺院の中でもしばしば特別の重要性を持つ梵鐘は、独立した建物に設置され、強い視覚的、聴覚的な存在感を放つ。これまで梵鐘に関しては、銘文、製作技術や技能、音色などに焦点を当てて研究が行われてきたが、本論文では、1930年代後半から1940年代半ばの間に、約4万5000点が姿を消したという事実に注目する。太平洋戦争中、金属不足が深刻になると、梵鐘は武器弾薬の素材として供出を求められるようになった。過去の寄贈者の願いや誓いが込められた梵鐘の供出要請に、神社仏閣はなぜ応じたのだろうか。死者を供養するための法具から、生命を破壊する武器への転換のプロセスは、どのようなものだったのだろうか。17～18世紀に鋳造され、現在まで残った4つの梵鐘の来し方を振り返るケーススタディを通じて、この問題への答え、およびこれらの梵鐘がどうやって溶解される運命を免れたかを探る。さらにこれらの梵鐘がもともと安置されていた寺院に返還された時に、海外、全国、そして地域レベルでどのように影響があったかを考察する。
{"title":"The Emotional Toll of Wartime Bell Deployment in Japan","authors":"S. Fowler","doi":"10.3998/ars.3992","DOIUrl":"https://doi.org/10.3998/ars.3992","url":null,"abstract":"Buddhist temple bells (bonshō) are a precious feature of almost every Japanese temple. These bells often have a singular status within their environment, with a strong aural and visual presence prominently positioned in their own structure. While most past studies of Buddhist bells have concentrated on their inscriptions, craftsmanship, technologies, or sound, this article will focus on how approximately 45,000 of them disappeared during the late 1930s and mid-1940s. During the Asia-Pacific War, as metals grew scarce, temple bells became a material resource for munition production. Why were temples and shrines convinced to give up their bells that embodied the hopes and vows of past donors? What was the process of transformation from a religious instrument used to comfort the dead into an object that would destroy life? Four case studies, presented as object biographies of bells that date from the seventeenth to eighteenth centuries, will be examined to consider these questions, as well as how these bells managed to escape the fate of being melted down and the international, national, and local ramifications of reuniting these survivors with their original temples.梵鐘は、日本のほとんどの仏教寺院に欠かせないものである。寺院の中でもしばしば特別の重要性を持つ梵鐘は、独立した建物に設置され、強い視覚的、聴覚的な存在感を放つ。これまで梵鐘に関しては、銘文、製作技術や技能、音色などに焦点を当てて研究が行われてきたが、本論文では、1930年代後半から1940年代半ばの間に、約4万5000点が姿を消したという事実に注目する。太平洋戦争中、金属不足が深刻になると、梵鐘は武器弾薬の素材として供出を求められるようになった。過去の寄贈者の願いや誓いが込められた梵鐘の供出要請に、神社仏閣はなぜ応じたのだろうか。死者を供養するための法具から、生命を破壊する武器への転換のプロセスは、どのようなものだったのだろうか。17～18世紀に鋳造され、現在まで残った4つの梵鐘の来し方を振り返るケーススタディを通じて、この問題への答え、およびこれらの梵鐘がどうやって溶解される運命を免れたかを探る。さらにこれらの梵鐘がもともと安置されていた寺院に返還された時に、海外、全国、そして地域レベルでどのように影響があったかを考察する。","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46873370","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-12DOI: 10.3998/ars.13441566.0051.004
D. Fitzgerald
This article demonstrates that premodern Chinese papers were far more globally dispersed than previously recognized. It argues that one reason for the absence of early modern Chinese papers in our historiographies is the divergences between the idea of Chinese papers, which are described in Chinese sources as products of a standardized process that followed similar methods for each variety, and the realities of the heterogeneity of paper types and places of production. Through an examination of a newly appreciated type of evidence, paper trademark stamps, scholars should be able to develop new methods for the study of the circulation of paper.
{"title":"Spreading Without Being Seen: Towards a Global History of Early Modern Chinese Paper","authors":"D. Fitzgerald","doi":"10.3998/ars.13441566.0051.004","DOIUrl":"https://doi.org/10.3998/ars.13441566.0051.004","url":null,"abstract":"This article demonstrates that premodern Chinese papers were far more globally dispersed than previously recognized. It argues that one reason for the absence of early modern Chinese papers in our historiographies is the divergences between the idea of Chinese papers, which are described in Chinese sources as products of a standardized process that followed similar methods for each variety, and the realities of the heterogeneity of paper types and places of production. Through an examination of a newly appreciated type of evidence, paper trademark stamps, scholars should be able to develop new methods for the study of the circulation of paper.","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46752927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-12DOI: 10.3998/ars.13441566.0051.008
Anna Arabindan‐Kesson
{"title":"The Viral and The Virus: Representations of Parangi in Colonial Sri Lanka","authors":"Anna Arabindan‐Kesson","doi":"10.3998/ars.13441566.0051.008","DOIUrl":"https://doi.org/10.3998/ars.13441566.0051.008","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45613165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-12DOI: 10.3998/ars.13441566.0051.002
Yael Rice
The main question that this essay attempts to answer is why and how multiple eighteenth- and nineteenth- century manuscript ateliers collected and copied (in some cases, repeatedly) painting designs intimately associated with album paintings produced at the seventeenth- century Mughal court. The study argues that the agents of image reproduction, in these instances, find material, corporeal realization in the recursive operations that South Asian painters employed in reproductive pictorial practices rooted in distilling, outlining, and tracing forms; in the apparatus of the album, a book technology that was at once porous and itinerant; and through such less considered intermediaries as pandits, or Hindu knowledge brokers, who facilitated the widespread copying, circulation, and incorporation of Mughal designs in paint over the course of three centuries.
{"title":"Painters, Albums, and Pandits: Agents of Image Reproduction in Early Modern South Asia","authors":"Yael Rice","doi":"10.3998/ars.13441566.0051.002","DOIUrl":"https://doi.org/10.3998/ars.13441566.0051.002","url":null,"abstract":"The main question that this essay attempts to answer is why and how multiple eighteenth- and nineteenth- century manuscript ateliers collected and copied (in some cases, repeatedly) painting designs intimately associated with album paintings produced at the seventeenth- century Mughal court. The study argues that the agents of image reproduction, in these instances, find material, corporeal realization in the recursive operations that South Asian painters employed in reproductive pictorial practices rooted in distilling, outlining, and tracing forms; in the apparatus of the album, a book technology that was at once porous and itinerant; and through such less considered intermediaries as pandits, or Hindu knowledge brokers, who facilitated the widespread copying, circulation, and incorporation of Mughal designs in paint over the course of three centuries.","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48089656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-12DOI: 10.3998/ars.13441566.0051.007
H. Shaffer
{"title":"Portraits and Types: Reinscribing Forms in Nineteenth-Century India and Europe","authors":"H. Shaffer","doi":"10.3998/ars.13441566.0051.007","DOIUrl":"https://doi.org/10.3998/ars.13441566.0051.007","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49008675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-12DOI: 10.3998/ars.13441566.0051.010
Guy Burak
{"title":"Review: The Virtual Reading Room of the Hill Museum and Manuscript Library and the British Library’s Endangered Archives Programme","authors":"Guy Burak","doi":"10.3998/ars.13441566.0051.010","DOIUrl":"https://doi.org/10.3998/ars.13441566.0051.010","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48295547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-12DOI: 10.3998/ars.13441566.0051.005
Gwendolyn Collaço
{"title":"“World-Seizing” Albums: Imported Paintings from ʿAcem and Hindūstān in an Eclectic Ottoman Market","authors":"Gwendolyn Collaço","doi":"10.3998/ars.13441566.0051.005","DOIUrl":"https://doi.org/10.3998/ars.13441566.0051.005","url":null,"abstract":"","PeriodicalId":54021,"journal":{"name":"ARS Orientalis","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45897453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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：