East Asian Art history

The towering earthen mound standing at the center of the First Emperor of Qin, Qin Shihuangdi's (- B.C.E.) Lishan necropolis at present-day Lintong in Xi'an, Shaanxi province was arguably the single greatest burial marker in ancient China. For centuries, this gigantic unopened monument has sparked curiosity and aroused interest among people regarding its nature. Without physically damaging the target, in - Chinese archaeologists used a new geophysical remote sensor to scan the surface of the mound, digitally probed into its inner structure, and detected a nine-stepped wall that bounds an aboveground burial shaft stretching down deep into the ground. This novel structure begs the following questions: what are the basic elements of this tomb mound, how do they work together within a coherent plan, and why was it made?

This dissertation project investigates the transcultural encounters of Japanese avant-garde calligraphers of the 1950s and 60s with the contemporaneous Euroamerican abstract artists. It is based on the analysis of the activity and works of the prominent Japanese avant-garde calligraphy group Bokujinkai ("People of the Ink") headed by Morita Shiryū (1912-1998), Inoue Yūichi (1916-1985) and other calligraphers.

외교 선물의 대상은 보통 각국의 토산물이나 희소한 가치를 지는 물건들이나 환금적 가치가 있는 것들로 구성되었는데, 조선의 경우 전시기에 걸쳐 청에 가져가는 공물은 직물류, 가죽류, 席子류, 종이류 위주의 방물로 조공품이라는 의미 외에는 특이한 점이 발견되지 않는다. 이에 비해 청의 조정은 건륭제 시기를 전후하여 각국의 사절단에 하사하는 외교 선물에 큰 변화가 보이는데, 본 연구는 이러한 변화 양상에 주목하여 정조대 후반 조선이 중국에서 외교 선물로 증정 받은 예물을 중심으로 외교 관계에서 ‘선물’이 담당하는 정치적 역할을 고찰해 보고, 외교 선물의 선정과 준비 과정, 증정을 둘러싼 의례와 의식의 상징적 의미를 동아시아의 전통적인 조공관계와 18세기의 청과 주변국의 정세 변화를 둘러 싼 새로운 대외관계의 맥락 속에서 논의해 보고자 한다.
당시 어떠한 외교적 의례 상황 하에서 예물들이 조선의 사신들에게 하사되었는지를 살펴보고, 그 역사적 상황을 재구성 해보고자 한다. 기록에 등장하는 하사품의 실례가 거의 남아있지 않으나, 건륭제 시기에 조판처에서 제작되어 황실에서 사용된 작품의 예를 통해 당시 조선 사신들이 받았던 예물의 형태를 짐작해 볼 수 있다. 특히, 본고에서는 공적인 외교 행사와 의례에서 건륭제가 하사한 외교 선물 가운데 1789년 6월 동지사행으로 파견된 이성원 일행이 받은 유럽식 동판화 《평정서역전도》와 《평정양금천전도》에 주목하여, 그 제작 목적과 분급, 조선 전래 과정을 살펴보고 외교 선물로써의 정치적 선전물로서의 기능을 고찰해 보고자 한다. 이와 함께 선물의 증여를 둘러 싼 외교 활동과 북경과 열하에서의 경험을 통해 체득한 청과 서양의 물질문화가 조선의 지식인들에게 어떠한 영향을 끼쳤는지에 대해 논의해보고자 한다.

Jacques Derrida notes in his Archive Fever: A Freudian Impression that “archive fever” occurs when there is trauma such as a phantom limb (physical) or consequent psychological obstacles to one’s memory. Trauma, developed from the Greek word titrōskō for wound,
has been “intergenerational and transgenerational” in the form of postmemoirin the case of the Holocaust of World War II. Owing to many scholarly works, we have noticed that the trauma is apparent not only in the victims but also in the families of the perpetrators.
      This paper, however, is not a study of trauma in the Freudian sense. Rather by following archive fever used“ to record memory and history”, I want to demonstrate the way the “younger” generation of artists who did not experience the Pacific war, or the Korean civil wars firsthand, transforms their artworks and their documentary-like working process as a symbolic site of archives in order to“ record” and“ remind” people of the pain of“ mine”
and others. By jeopardizing the political ideologies whose lens has been essential in looking at postwar Korean and Japanese artists in dealing with war-related subject matters, I should like to consider five particular artists―Yong Soon Min, Yoshiko Shimada, Yongsuk Kang,
Makoto Aida, and Yukinori Yanagi ― as those who strive to present history they have not directly experienced as painful yet poignant memories. The archives in general exist as an “aporia” resulting from a difficulty or uncertainty, that is, from an indeterminacy of meaning by two different parties. In this light, my paper does not delve into the dichotomies of victimized Korean artists vis-à-vis Japanese artists and group the aforementioned five
artists as the same“ generational” artists. By considering these and other comparable artists, I want to see what their artworks say about memory, history, and their pain as well as that of others.
  My paper first explores the polemical texts and works by Min and her visual and textual explanation of “positionality” as an Asian artist in the United States, whereas my consideration of Shimada, an outspoken active feminist constructs the American occupation of Japan after the end of the Second World War. Converting their artworks as “gendered” constructs, the two artists create therapeutic arenas for their subjects.
      Secondly, I shall examine the Korean artist Kang and the Japanese Aida to analyze the operation of photographic indexicality in their works. The alienated distance is rhetorically experimented with in Kang’s case as he has written in his statement about the silverpoint works taken at the site of “Maehyang-ri”, where Korean-based American soldiers practiced air shooting. Kang’s grey-tone work is like a calm, yet psychologically embedded documentary film, and I try to take note of the underlying reason for his aesthetic decision for the alienating distance. This visual rhetoric is compared to works of Jeff Wall and Walid
Raad in presenting ambiguity imbedded in the photographic tool. On the other hand, Aida’s series of works entitled Sensoga Returns/War Pictures Returns that he completed in past decades is rather controversial and visually quite striking and, even in some cases, disturbing. In Aida’s works, in particular, we witness a political ambivalence that makes us question whether the works glorify the war or criticize it.  War, memory, history, and gender intersect in the works of Yukonori Yanagi as well as
that of Nobuyuki Oura. Yanagi’s Hinomaru and Oura’s Holding Perspective Series touch on the controversial subject matter by dealing with the forgotten memory of their history, which is closely related to liquidating the vestiges of the Pacific Wars by presenting Japan as
the victim (by the United States) and thecolonizer (of Korea), the very Janus-faced situation the country strives to forget. We find in these provocative artists the political ambivalence seen through our“ historical” eyes. Grouping these Korean and Japanese contemporary arts
under the rubric of“ archives”, however, I have attempted to examine their work in parallel fashion, not hierarchically through the perspectives of gender and nation.

Die Entdeckung des Grabs des Beamten Han Xiu aus der Tang-Dynastie (617-907 n. Chr.) hat international für viel Aufmerksamkeit gesorgt. Eine Wandmalerei, die sich an der Nordwand des Grabs befand, gilt als eine der frühesten Landschaftsmalereien (chin. Shanshuihua) in China. Daraus ergeben sich die Fragen, ob der Ursprung der Landschaftsmalerei im Grabkult liegt und wie sich die Landschaftsdarstellung zur eigenständigen Landschaftsmalerei entwickelte. Um diese Fragen zu beantworten, befasst sich die vorliegende Arbeit mit Landschaftsdarstellung im Grabkult zur Zeit der Tang-Dynastie. Die Werkanalyse der Wandmalerei in Han Xius Grab wird als Ausgangspunkt für die vorliegende Arbeit vorgenommen. Zum einen wird auf ein bestimmtes Muster in der Komposition des Werks verwiesen, welches für die damalige Zeit üblich war. Des Weiteren wird das Wandgemälde in Bezug auf die Besonderheiten des stellschirmähnlichen Rahmens im Grabraum-Kontext analysiert. Aufgrund der Ähnlichkeiten zwischen dem vorliegenden Werk und den Wandgemälden in Dunhuang werden zudem die gegenseitige Beeinflussung von Buddhismus und Landschaftsmalerei untersucht. Der letzte Teil handelt von den Entwicklungen der Landschaftsdarstellungen im Grabkult jener Zeit und der Einordnung der Landschaftsmalerei in den historischen Kontext. Dadurch wird das Werk in Bezug auf dessen historische Bedeutung, räumlichen Kontexte und kulturellen Hintergrund erforscht, was zu einem umfassenderen Verständnis der Bedeutung und Funktion der Landschaftsmalerei führt.

The article tells about Japan's first official evaluation of objects as art rated in Western categories. With the first nationwide surveys in advance of the World Fair in Vienna 1873 experts, officials and the people learned for the first time to value the nations heritage, represent by objects.
The cultural knowledge of society was shaped during Meiji by a rising middle class and governmental conventions in favour of a hybrid concept of Japanese heritage, Western concepts and Japanese artistic practices.
With the first governmental intended artistic Bunten exhibitions, the Domestic Industrial Exhibitions, and presentations regarding the International World Fairs, the jury panels defined the taste and value of art for decades.
The rise of independent art societies and their presentations at private run department stores and small gallery spaces since the early nineteenth century, artists dismantled contemporary art from the tutelage of official cultural policy. To appreciate this modern art, magazines published by artists and department stores, art critics columns in newspapers, and other communication channels had to build up the cultural competence required for the appropriate consumption and commerce of modern art.
The article explains the founding of the first official art related museums, the important role private department stores toke not only as a venue but more important in the new methods of presenting art.
The first private collectors are presented an their fate in dealing with modern art in Western style for the first time in Japan.

美術館の誕生 - 日本における美術品紹介の最初の出会い
この記事は、日本が初めて公式に美術品として評価した、西洋のカテゴリーで評価された物について書かれています。
1873年のウィーン万国博覧会を前に行われた初の全国調査で、専門家、役人、そして国民は、モノに表された国の遺産を評価することを初めて知りました。
明治時代、中産階級の台頭と政府の慣例により、日本の伝統、西洋の概念、日本の芸術的実践のハイブリッドな概念が支持され、社会の文化的知識が形成された。
政府による最初の芸術的な「文展」、国内産業展、国際的な万国博覧会に関するプレゼンテーションなど、審査委員会は数十年にわたって芸術の好みと価値を定義してきたのです。
19世紀初頭からの独立した美術協会の台頭と、個人経営のデパートや小さなギャラリースペースでの発表により、芸術家たちは公式な文化政策の指導から現代美術を解体していったのです。
この現代美術を鑑賞するためには、アーティストやデパートが発行する雑誌、新聞の美術評論欄などのコミュニケーション・チャンネルが、現代美術の適切な消費と商業に必要な文化的能力を構築する必要があったのである。
この記事では、美術関連の最初の公式美術館の設立、民間デパートが会場としての役割だけでなく、新しい美術展示の方法において重要な役割を果たしたことを説明しています。
また、日本で初めて西洋式の近代美術を扱った個人コレクターの運命も紹介されています。

Chulan Tomb 2 (dated to 171 c.e.) in present-day Suxian, Anhui province, offers the rare opportunity to study the hitherto unknown relationship between multiple depictions of chariot processions-one of the most popular pictorial motifs in Eastern Han funerary art-at different locations in a single cemetery. Comparing this tomb's two chariot processions in stylistic, iconographic, and positional terms, this paper draws attention to a special dragon motif that ornaments a few special chariots and argues that these "dragon chariots," unique among stone carvings of the Eastern Han, were meant to carry the deceased couple, who were buried separately but received joint sacrifices in their shared shrine. Unlike previous studies, which focus on either the shrine or the burial as self-contained units, this paper approaches the entire cemetery as an organic architectural and pictorial nexus without breaking the narrative link between its units. This case study of depictions of chariot processions presents a dynamic view of the afterlife during the Eastern Han dynasty: the burial and the shrine formed two temporary stops rather than permanent homes for the deceased souls, which were ceaselessly traveling on the posthumous road.

CHO DONG-IL’S HISTORY OF KOREAN LITERATURE, London: Saffron, 2016. AUTHOR: Cho Dong-il. Translator: Charles La Shure. Saffron Korea Library Series. Cho Dong-il’s History of Korean Literature is a forthcoming title of Saffron Books, EAPGROUP London. Cho Dong-il’s History of Korean Literature is a magisterial work, perhaps the most comprehensive narrative on the subject in any language other than Korean, encompassing milestones, events and personalities in one of the most engrossing bodies of world literature, writes Sajid Rizvi, Publisher and Editor-in-Chief of Saffron Books. This monumental book, published in conjunction with the Academy of Korean Studies, Seoul, is part of Saffron Korea Library Series.
Cho Dong-il’s History of Korean Literature (translated by Charles La Shure) traces the development of Korean literature from its beginnings in paleolithic times through the ancient and medieval eras, the important transition from medieval to modern Korea, and the Japanese colonial period, which ended in 1945. Dr Cho, a pre-eminent scholar of Korean literature, demonstrates how inextricably the threads of history, literature, and philosophy are interwoven, providing the necessary background to understand Korean literature as an unbroken tradition of thousands of years. His theories of literary branches and tendencies, as well as his unique understanding of the relationships between historical eras, provide a deeper and more flexible framework for interpreting Korean literature than traditional genre and periodization systems. Lastly, he goes beyond regional boundaries to examine the place Korean literature occupies in world literature. This English translation of the five-volume original serves as an introduction to Korean literature, maintaining the important theoretical framework and underlying theories that make Dr Cho’s work the premiere textbook that it is in Korea, but also focusing on the more significant aspects of Korean literary history so as not to overwhelm the reader. This volume will serve as a foundation for and stepping stone to further study of Korean literature. The cover of the book features a painting by the author. ABOUT THE AUTHOR: Professor Cho Dong-il has been has been teaching Korean literature for more than 45 years, primarily in Korea but also in France, Japan, and China. He has spoken to academic audiences in sixteen countries around the globe. His contributions to the fields of Korean literature and Korean Studies include over seventy books and over two hundred papers; his latest book, A Theory of Learning (2012), serves as an approachable introduction to and summary of his vast body of research. He is currently professor emeritus at Seoul National University and a member of the National Academy of Sciences of the Republic of Korea.
ABOUT THE TRANSLATOR: Charles La Shure holds a doctorate in classical Korean literature with a specialization in oral literature from Seoul National University. In addition to his academic research, he works as a translator of technical, academic, and literary texts from Korean into English; his most recent previous translation is the novel Black Flower, by Kim Young-ha. He is currently a professor in the Department of Korean Language and Literature at Seoul National University
KOREAN SUMMARY [Thanks to Drs Cho and La Shure for providing this translation] 이 책은  Cho Dong-il이 한국어로 쓴 한국문학통사 (A Comprehensive History of Korea Literature) 의 축약 번역본이다. 한국문학통사는 1982-1988년에 제1판이, 1989년에 제2판이, 1994에 제3판이 나왔다. 전면 수정한 제4판이 2005년에 나왔다. 출판사는 계속 서울의 지식산업사이다.
한국문학통사는 별책 부록을 포함해 모두 6권의 분량이다. 한국문학의 전 영역의 수많은 사항을 거의 빠짐없이 다루고, 연구 상황을 자세하게 소개해 외국인이 이용하기는 어렵다. 한 권으로 축약해 외국어로 소개하는 작업이 필요하다고 여겨 일찍 착수했다. 오랜 노력 끝에 Cho Dong-il과 Daniel Bouchez의 Histoire de la littérature coréenne 가 프랑스 파리 Fayard 출판사에서 2002년에 나왔다. 우리 두 사람이 그 책의 공저자이고 공역자이다. 같은 방식으로 영어판을 만드는 일을 미국인 학자 Marshal Pihl 교수와 함께 하다가 애석하게도 세상을 떠나서 중단하지 않을 수 없게 되었다. Marshal Pihl 의 뒤를 이을 분을 찾다가 뜻을 이루지 못했다.
그러다가 Cho Dong-il 은 다행히 미국인 동학 (academic colleague) Charles La Shure 를 만나 소원을 성취하게 되었다. 이 사람은 한국으로 유학 와서 서울대학교 국어국문과 대학원에 입학해 한국고전문학 전공으로 석사학위를 받고 박사학위 과정에서 공부를 계속하고 있었다. 한국어와 한국문학을 잘 알고, 오랜 기간 동안 함께 공부해 내 학설을 소상하게 이해한다. 강의를 수강하면서 내 연구에 동참하기도 했다. 미국대학에서 문예창작을 전공해 영어 문장력이 뛰어나다. 한국문학 작품을 영어로 번역한 경험이 많고 그 성과가 뛰어나다. 한국문학통사 영어판을 만들 수 있는 가장 적임자이다. 한국학중앙연구원에서 번역비를 지원해주어 주저하지 않고 착수할 수 있었다.
불문판과 영문판은 몇 가지 점이 서로 다르다. 불문판은 제3판을, 영문판은 제4판을 대본으로 했다. 제3판까지에서는 한국문학사를 그 자체로 다루다가 제4판에서는 한국문학과 세계문학의 관계를 더 많이 취급했으므로 옮겨놓은 내용도 달라졌다. 불문판을 만들 때에는 원문을 축약해 재집필했으나, 영문판은 대부분의 중요한 내용을 가려내서 번역했다. 불문판은 1919년까지의 문학만 취급하고, 영문판에서는 그 뒤의 문학을 더욱 중요시해 큰 비중을 두었다. 두 책을 함께 읽으면서 특성을 서로 보완하게 하면 도움이 될 것이다.
우리 두 사람이 영역본을 함께 만들면서 일을 약간 분담했다. 번역할 내용을 가려내는 일은 Cho Dong-il 이 주로 하고 Charles La Shure가 세부적인 사항을 맡았다. Charles La Shure가 일단 번역한 원고를 Cho Dong-il 이 읽어 검토하고 문제점이 발견되면 함께 수정해 완성했다. 그 과정에서 Charles La Shure 가 더 많은 수고를 했음은 물론이다.
영어권 독자들이 이 책을 쉽게 이해할 수 있도록 하자는 것이 축약의 기본방침이다. 내용이 너무 복잡하고 까다로워 영어로 옮기기 어렵거나 고유명사가 너무 많이 들어간 대목은 넣지 않기로 했다. 이른 시기의 문학은 간략하게, 가까운 시기의 문학은 자세하게 다루었다. 인용 작품이든 본문이든 적절하게 의역해 읽기 쉽게 하려고 했다. 세부항목마다 갖추어져 있는 참고논저는 생략했다. 그렇기 때문에 미흡한 점이 적지 않다. 이 책을 안내서로 삼아 한국문학을 공부한 독자가 장차 한국어를 본격적으로 공부해 한국문학통사 원문을 읽기를 간절하게 바란다.

This research is arranged into three sections in order to elaborate on the hybrid innovation in yangcai. Firstly, the usage of pictorial techniques on porcelain will be discussed, followed by the argument that the modelling technique in the Qianlong period could be the revival of Buddhist tradition combined with European pictoriality. The second section continues the discussion of non-traditional attributes in terms of the ontology of porcelain patterns. Although it has been widely accepted that Western-style decorations were applied to the production of the Qing porcelain, the other possibility will be purported here by stating that the decorative pattern is a Chinese version of the multicultural product. The last section explores style and identity. By reviewing the history of Chinese painting technique, art historians can realise the difference between knowing and performing. Artworks produced in the Emperor Qianlong's reign were more about Emperor Qianlong's preference than the capability of the artists. This political reason differentiated the theory and practice in Chinese history of art. This essay argues that the design of yangcai is substantially part of the Emperor Qianlong's portrait, which represents his multicultural background, authority over various civilisations, and transcendental identity as an emperor bridging the East and the West.

Her first book, Mount Wutai: Visions of a Sacred Buddhist Mountain (Princeton University Press, 2018), examines the Inner Asian transformation of the preeminent northern Chinese Buddhist pilgrimage site during the Qing dynasty. Chou's current project explores the production of multilingual and multimedia objects at the Qing court.

（See abstract in English at the end of the file）：This study investigates the blossoming of woodblock print illustration in late Tang, Song, Liao, and Xi Xia regimes during the late ninth to twelfth centuries. To date, studies of early Buddhist prints have primarily focused on the relationship between text and image, and less on how the images themselves were derived and transported across vast regions to be adapted and transformed by other artisans. This study explores the way in which multiple sources contributed to the stock of imagery used by print artisans, how they standardized visual motifs into modules, and how this distilled imagery was transferred geographically. The prints studied were produced in a number of important centers including Beijing, Dunhuang, Hangzhou, Kaifeng, and Yinchuan. Compared to wall paintings in caves, temples, and tombs, printed images were portable, mass-produced, and wide-spread, hence an efficient medium for spreading these materials across regions well beyond China. This study proposes that Buddhist printed images had multiple visual sources including other prints, painting, and bas-relief tiles, many of which were not Buddhist but secular. It also shows that Buddhist illustrated prints were not necessarily related to the accompanying texts; rather, they were composed of motifs adapted from an existing pictorial vocabulary and used in a modular fashion by print artisans. In conclusion, this exploration of media transfer and modular design evident in Buddhist prints sheds light on the active role played by print artisans. Though anonymous, they were decisive in standardizing a repertoire of popular motifs and assembling, selecting, and modifying these stock images to create original and coherent compositions.

This Cambridge Element inaugurates the Cambridge Elements series in the Global Middle Ages: 40 titles over 5 years, with an open-ended remit, edited by Geraldine Heng and Susan Noakes.  The Global Middle Ages: An Introduction discusses how, when, and why I conceptualized a "Global Middle Ages," explains and analyses the terms deployed in studying, teaching, and researching a Global Middle Ages, and critically reflects on the issues that arise in the establishment of this relatively new field of academic endeavor. 

It considers key issues of vocabulary, chronology, and themes central to the conceptualization and theorization of the global in premodernity; treats the relationship of global premodernity to global modernity; and surveys a variety of approaches to the global in earlier and emergent scholarship.  This Element compares our current moment’s study of the global with preceding as well as ongoing programmatic studies such as world-systems theories and the teaching of world history and world literature in higher education today.

This introductory Element brings into focus the sustained importance of critical reflection and critical analysis, and promulgates a critical---not an additive---version of early global studies.

in: Journal of Art Historiography 13 (December 2015).
In 1912 Josef Strzygowski founded the ‘Section for East Asian Art History’ at the University of Vienna, which attracted many students who would continue their careers in museums and at universities and thus established East Asian art history as an academic field. This paper examines these early art historical engagements with East Asian art: First, I discuss the role of East Asian art in Strzygowski’s agenda of broadening art history’s geographical scope beyond Europe and in his argument about the dominance of ‘Nordic’ artistic traditions in Europe and in Asia. Secondly, I introduce the work of two early students at the ‘Section for East Asian Art History’ in Vienna, Karl With and Alfred Salmony. Their respective approaches to East Asian art exemplify a range of methodological concerns of their time, from stylistic narratives, the concept of ars una, comparative frameworks, to ideas about cultural or national ‘purity’ in the arts, and an interest in cross-cultural adaption and transformation of motifs and symbolism.

This research examines how visual objects derived from
China were represented and manipulated for royal court rites and palaces in Chosŏn Korea. This study investigates the importance of art in understanding cultural transmission and intercultural connections as well as the manifold relationship among artistic agents and objects in the ritual, political, socio-economical, and intellectual contexts of the Chosŏn dynasty. Focusing on eighteenth- and nineteenth-century Chosŏn court screens, which depict themes deriving from Chinese textual and pictorial sources that were widely appreciated in Korea and Japan, this
dissertation explores the perception and circulation of images, the dissemination of knowledge and social customs, the ritual use of visual objects, the deployment of art in palatial structures, and the role of artistic agents in the consumption and production of court art. It encompasses examination of the ways in which meaning is constructed, modified, and reinstated both in
textual and visual forms, and what may happen when themes from a literary text are adapted to painting as well as moving across time and cultures.

While challenging the idea of a unilateral Chinese ‘influence’ on Korean culture, which neglects the role of Korean artists, patrons, and beholders as active agents, this study aims to unveil the process of appropriation of Chinese themes and the causes that affected this process,
whether political, socio-economic, intellectual, or artistic. In order to identify the dynamics between human agents, institutional systems, and objects and to analyze the cultural transmissions from China and the eclecticism reflected in Chosŏn art, I use two important theoretical concepts, “agency” and “cultural translation.”

Emphasizing the political functions of court art, I use three case studies of court paintings produced to decorate palace buildings and to commemorate court rituals. First, I examine commemorative court screens in which stories of celebrated figures from Chinese literature and
lore are fused with actual Chosŏn court events. These paintings successfully satisfied the demands of agents who wanted to elevate contemporary events by superimposing well-known exemplary ancient images on current secular occasions. Second, I analyze paintings depicting two legendary banquets of Chinese mythical and historical figures, which were produced to celebrate festive court rites in the nineteenth century. By identifying the patrons, their political standing, and the purpose of the paintings, I explore the way these paintings constructed a
symbolic space pertaining to state rituals and expressed the agendas of a particular political
party. I further explore how these paintings expressed the social values and political agendas of their patrons in a ritualistic way by examining the interplay between visual and non-visual forms of art in court rites. Third, I use screen paintings depicting Chinese sage rulers and idealized images of Chinese antiquity to explore how Chinese rulership and ideal society was represented
at the Chosŏn court and how the current material culture and knowledge introduced from outside were integrated in the representation of an imaginary, ancient Chinese empire.

Eight essays by Fei Deng, Phillip Bloom, Jeremy Fan Zhang, Xiaolin Duan, Hui-wen Lu, Patricia Ebrey, Jie Liu, and Yiwen Li. Introduction by Patricia Ebrey and Shih-shan Susan Huang.

For more info, visit:
https://brill.com/view/title/35018?lang=en

This article examines Song-to-Ming printed illustrations celebrating the power of the Diamond Sutra, one of the most widely copied Buddhist scriptures in East Asia. An integral part of printed copies of the Diamond Sutra, these illustrations reflect a strong popular taste appealing to common folks, connecting modern readers to a wider realm of vernacular Buddhism and popular Buddhist visual culture in traditional Chinese society, where indigenous beliefs, popular images, and various religious practices are freely borrowed, converged, and re-packaged. The first part of the study, “Buddhist Records of Magical Efficacy,” identifies the round-trip of protagonists to the underworld, and the efficacy of prolonging life in Tang-to-Northern Song miracle tales of the Diamond Sutra as two recurring features carried on in the Southern Song-Ming illustrated versions. The second part, “Illustrations of Miracle Tales,” examines illustrated miracle stories of the Diamond Sutra highlighting the underworld court, messengers from the underground, miraculous fungi, and magical writing. The third part, “Women in Vernacular Buddhist and Folklore Visual Cultures,” turns to good and evil stereotypes of women pictured in selected miracle tales. The author then also explores the half-animal, half-woman demons subjugated by Buddhist guardians, whose images are juxtaposed with the illustrated miracle stories in the Ming versions. Finally, the fourth part, “Publishers and Donors,” shifts to the social and religious context of the illustrated books of the Diamond Sutra. The extant Southern Song-Yuan woodcuts were likely printed by Hangzhou’s commercial publishers. A donor’s colophon and a hybrid Esoteric Buddhist pantheon in an early fifteenth-century version points to a multicultural community in early Ming Beijing.
《通俗佛教版畫所見的金剛經靈驗力》 【中文提要】
金剛經乃東亞文化圈中流傳最廣的佛經之一。本文旨在探討南宋至明初金剛經版畫所描繪的金剛經靈驗故事。這些插圖反映了吸引大眾的民間品味，使吾人一窺傳統中國社會中，在吸納了本土信仰、通俗圖像、以及多元宗教習俗後所融匯而成的通俗佛教及視覺文化。全文共分為四大部分。第一部分「佛教靈驗記」指出，往返冥府、續命延壽的故事主題，乃源自唐宋金剛經靈驗記書寫，並流傳到南宋至明木刻插圖版金剛經靈驗記的二大主題。第二部分「靈驗記插圖」，探討金剛經靈驗記版畫中的冥府、冥使來訪，以及與書經功德有關的芝草等靈驗表現。第三部分「通俗佛教及民俗視覺文化中的女性」，關注靈驗記版畫所見的女性善、惡面，以及明代金剛經版畫中，與靈驗記插圖併列的金剛圖像所添加的半人半獸女性鬼怪形象。第四部分「出版者與施主」，將重點轉移到金剛經木刻插圖出版的社會、宗教網絡。現存南宋、元版木刻版畫，可能都產自當時杭州的坊間印書店。一套帶有漢、梵合名之施主題記，以及混雜了密教與道教神群像的明初金剛經木刻版畫，則指向宣德年間北京城中的多元文化社群。

This second part of the study of Daoist seals focuses on types, building on Wang Yucheng’s earlier studies. They come in four: 1) seal script; 2) heavenly scripts; 3) talisman-inspired; and 4) graphic. The underlining criterion is the Daoist strategy of image-making: it sheds light on the interlocking relationship of Daoist texts and images. The first type is purely script-based, while the fourth is purely graphic. Between the two is the core zone of Daoist visual culture as it blends image with text.

This article frames the Museum of Modern Art, Hayama’s 2017 exhibition on Japanese modernism during the simultaneously vibrant and tumultuous 1930s through the lens of Japan’s uneven capitalist development and wartime mobilization. The author suggests that the exhibition’s unique international scope, rich selection of figurative and abstract modernist works, and emphasis on the year 1937 as a nexus through which the decade’s competing tendencies can be reevaluated readily disclose the constitutive, dialectical relationships between historical difference, total war, and modernist form in imperial Japan and its colonies. The exhibition’s featured works and curator Asaki Yuka’s direction together emphasized the inseparability of Japanese modernism from the encroaching conditions of world war during the late 1930s, thereby contributing to a growing body of scholarship and series of exhibitions challenging the received oppositions between autonomous modernism, proletarian realism, and wartime propaganda. After introductory remarks on the reassessment of 1930s-era Japanese avant-garde aesthetics, the article provides a series of close readings of significant paintings included in the exhibition, including Murai Masanari’s 1937 Urban, Matsumoto Shunsuke’s 1935 Building, and Uchida Iwao’s 1937 Port. These formal readings explore how the year 1937 marked a pivotal “branch point” for Japanese society, not only in terms of the confluence of various artistic trends but also in terms of the fierce opposition between socialism and fascism that bifurcated potentialities for Japan’s future.

Keywords: modernism, imperial Japan, total war, fascism, uneven development, avant-garde, proletarian arts, 1930s, museum exhibitions

The 1980s and 1990s "East Asian Miracle" saw a revivication of the idea of "Asia," now no longer taken as backward. The "flying geese" model of development-with Japan at the forefront-triggered not only tri-This essay benefited from critical discussions over some years with

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Over the centuries, Western connoisseurs honed a fascination for objects from Asia, Africa, the Americas and the Pacific, many of which are part of public and private collections today. What trajectories did they follow, how were they acquired and dispersed? With the era of European expansion, a growing number of extra-European artefacts entered Western markets. Some were legally bought, others were plundered or appropriated in asymmetric power contexts during the colonial era. Subsequently, new market structures emerged in response to European and North American demands. This book provides insights into the methods and places of exchange, networks, prices, expertise, and valuation concepts, as well as the transfer of these artefacts. It focuses on interrelations and connections between art markets and collectors from the late modern period through to the mid-twentieth century.