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A Companion to Asian Art and Architecture
A Companion to Asian Art and Architecture presents a collection of 26 original essays from top scholars in the field that explore and critically examine various aspects of Asian art and architectural history. Brings together top international scholars of Asian art and architecture Represents the current state of the field while highlighting the wide range of scholarly approaches to Asian Art Features work on Korea and Southeast Asia, two regions often overlooked in a field that is often defined as India-China-Japan Explores the influences on Asian art of global and colonial interactions and of the diasporic communities in the US and UK Showcases a wide range of topics including imperial commissions, ancient tombs, gardens, monastic spaces, performances, and pilgrimages.
Rethinking Visual Narratives from Asia
Rethinking Visual Narratives covers topics from the first millennium B.C.E. through the present day, testifying to the enduring significance of visual stories in shaping and affirming cultural practices in Asia. Contributors analyze how visual narratives function in different Asian cultures and reveal the multiplicity of ways that images can be narrated beyond temporal progression through a particular space. The study of local art forms advances our knowledge of regional iterations and theoretical boundaries, illustrating the enduring importance of pictorial stories to the cultural traditions of Asia. Contributors include Dominik Bonatz (Archaeologist Free University of Berlin), Sandra Cate ...
Eco–Art History in East and Southeast Asia
The essays in this anthology examine artwork and sites in East and Southeast Asia through the lens of eco–art history. In these regions, significant anthropogenic changes to terrain, watercourses, and ecosystems date back millennia, as do artwork and artefacts that both conceptualize and modify the natural world. The rising interest in earth-conscious modes of analysis, or “eco–art history,” informs this anthology, which explores the mutual impact of artistic expressions and local environments in East and Southeast Asia. Moreover, conceptual tools and case studies focused on these regions impart important insights bearing on the development of eco–art history. The book includes cas...
The Forger's Creed
The first in-depth look at the history and legacies of forgeries in Chinese art. In 1634, scholar-official Zhang Taijie (b. ca. 1588) published a book titled A Record of Treasured Paintings (C. Baohui lu), presenting an extensive catalogue of a purportedly vast painting collection he claimed to have built. However, the entire book is Zhang's meticulously crafted forgery; he even forged paintings to match the documentation, and profited from trading them. Furthermore, the book intriguingly mirrors unfounded art-historical claims of its time. Prominent figures like Dong Qichang (1555-1636) made entirely fabricated arguments to assert legitimate lineages in Chinese art, designed to create a fic...
Government and Art
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Directory of Japan Specialists and Japanese Studies Institutions in the United States and Canada
This directory in three volumes updates the second edition of the Directory of Japan Specialists and Japanese Studies Institutions in the United States and Canada, which was published in 1995 as a joint project of The Japan Foundation and the Association for Asian Studies. Like its predecessors, it has two aims: first, to make Japan specialists, Japanese studies programs, and their collective expertise more visible and accessible to those outside the field; and, second, to help those involved in Japanese studies stay in touch with one another. It includes 1,480 Japan specialists, 266 full institutional entries containing 1,947 staff listings, and 663 doctoral candidates. The directory is mos...
Annual Commencement
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The Night Banquet
The tenth-century Chinese handscrollThe Night Banquet of Han Xizai(attributed to tenth-century artist Gu Hongzheng), long famous for its depiction of a decadent party hosted by a government official, is used by De-nin Lee to explore how art objects are created and the many sociopolitical eras and individual hands through which they pass. By the tenth or eleventh century, and in earnest by the thirteenth, viewers of Chinese paintings lodged their responses to a work of art directly on the object itself, in the form of seals, inscriptions, and colophons. The scrawls and markings may amount to distractions for the seasoned admirer of European easel painting, but Lee explains that a handscroll p...
