Browse results

A Modern Miscellany

Shanghai Cartoon Artists, Shao Xunmei’s Circle and the Travels of Jack Chen, 1926-1938

Series:

Paul Bevan

In A Modern Miscellany: Shanghai Cartoon Artists, Shao Xunmei’s Circle and the Travels of Jack Chen, 1926-1938 Paul Bevan explores how the cartoon (manhua) emerged from its place in the Chinese modern art world to become a propaganda tool in the hands of left-wing artists. The artists involved in what was largely a transcultural phenomenon were an eclectic group working in the areas of fashion and commercial art and design. The book demonstrates that during the build up to all-out war the cartoon was not only important in the sphere of Shanghai popular culture in the eyes of the publishers and readers of pictorial magazines but that it occupied a central place in the primary discourse of Chinese modern art history.

Maṇḍalas in the Making

The Visual Culture of Esoteric Buddhism at Dunhuang

Series:

Michelle C. Wang

The first scholarly monograph on Buddhist maṇḍalas in China, this book examines the Maṇḍala of Eight Great Bodhisattvas. This iconographic template, in which a central Buddha is flanked by eight attendants, flourished during the Tibetan (786–848) and post-Tibetan Guiyijun (848–1036) periods at Dunhuang. A rare motif that appears in only four cave shrines at the Mogao and Yulin sites, the maṇḍala bore associations with political authority and received patronage from local rulers. Attending to the historical and cultural contexts surrounding this iconography, this book demonstrates that transcultural communication over the Silk Routes during this period, and the religious dialogue between the Chinese and Tibetan communities, were defining characteristics of the visual language of Buddhist maṇḍalas at Dunhuang.

Beyond Chinoiserie

Artistic Exchange between China and the West during the Late Qing Dynasty (1796-1911)

Series:

Edited by Petra ten-Doesschate Chu and Jennifer Milam

The complex interweaving of different Western visions of China had a profound impact on artistic exchange between China and the West during the nineteenth century. Beyond Chinoiserie addresses the complexity of this exchange. While the playful Western “vision of Cathay” formed in the previous century continued to thrive, a more realistic vision of China was increasingly formed through travel accounts, paintings, watercolors, prints, book illustrations, and photographs. Simultaneously, the new discipline of sinology led to a deepening of the understanding of Chinese cultural history. Leading and emerging scholars in the fields of art history, literary studies and material culture, have authored the ten essays in this book, which deal with artistic relations between China and the West at a time when Western powers’ attempts to extend a sphere of influence in China led to increasingly hostile political interactions.

Series:

Edited by Vivienne Lo and Penelope Barrett

A unique collection of 36 chapters on the history of Chinese medical illustrations, this volume will take the reader on a remarkable journey from the imaging of a classical medicine to instructional manuals for bone-setting, to advertising and comic books of the Yellow Emperor. In putting images, their power and their travels at the centre of the analysis, this volume reveals many new and exciting dimensions to the history of medicine and embodiment, and challenges eurocentric histories. At a broader philosophical level, it challenges historians of science to rethink the epistemologies and materialities of knowledge transmission. There are studies by senior scholars from Asia, Europe and the Americas as well as emerging scholars working at the cutting edge of their fields.

Thanks to generous support of the Wellcome Trust, this volume is available in Open Access.

The Church of the Holy Cross of Ałt‘amar

Politics, Art, Spirituality in the Kingdom of Vaspurakan

Series:

Edited by Zaroui Pogossian and Edda Vardanyan

This book is dedicated to an outstanding architectural monument of medieval Armenia – the church of the Holy Cross, built in the tenth century on the island of Ałt‘amar on Lake Van, and a UNESCO world heritage site. This jewel of architecture has been researched mainly from an art historical perspective. The current multi-author volume offers diverse studies aimed at placing the construction of the church in its proper historical, political, religious, and spiritual context. It explores the intellectual climate in the Kingdom of Vaspurakan during the reign of its founder, King Gagik Arcruni, the Kingdom’s relations with Byzantium and the Abbasids, analyzes local historiography, biblical exegesis, hagiography, veneration of the True Cross, and royal ideology. Novel interpretations of architectural features and sculptural decorations close the volume.
Le livre est consacré à l'un des plus importants monuments architecturaux de l'Arménie médiévale, l'église de la Sainte-Croix construite au Xe siècle sur l'île d’Ałt‘amar sur le lac de Van. Elle est inscrite sur la liste du patrimoine mondial de l'UNESCO. Ce joyau de l'architecture arménienne a été étudié principalement dans la perspective de l’histoire de l’art. Le présent volume multi-auteurs propose une diversité d’approches qui placent la construction de cette église dans le contexte historique, politique, religieux et spirituel. Il étudie l’ambiance intellectuelle du Royaume du Vaspurakan durant le règne de son fondateur, le roi Gagik Arcruni, les relations du Royaume avec Byzance et les Abbassides, il analyse l’historiographie locale, l’exégèse biblique, l’hagiographie, le culte de la Vraie Croix et l’idéologie royale. De nouvelles interprétations des particularités architecturales et des décors sculptés achèvent le volume.
Contributors are Krikor Bélédian, Jean-Claude Cheynet, Patrick Donabédian, Bernard Flusin, Tim Greenwood, Gohar Grigoryan, Armen Kazaryan, Davit Kertmenjyan, Sergio La Porta, Jean-Pierre Mahé, Zaroui Pogossian, Robert Thomson (†), Alison Vacca, Edda Vardanyan.

Studies in Armenian Art

Collected Papers

Series:

Nira Stone

Edited by Michael E. Stone and Asya Bereznyak

Nira Stone (1938-2013) was a scholar of Armenian and Byzantine Art. Her broad and close acquaintance with the field of Armenian art history covered many fields of Armenian artistic creativity. Nira Stone made notable contributions to the study of Armenian manuscript painting, mosaics, and other forms of artistic expression. Of particular interests are her researches on this art in its historical and religious contexts, such as the study of apocryphal elements in Armenian Gospel iconography, the place of the mosaics of Jerusalem in the context of mosaics in Byzantine Palestine, and of the interplay between religious movements, such as hesychasm, and Armenian manuscript painting.

Augustinian Art and Meditation in Renaissance Florence

The Choir Altarpieces of Santo Spirito 1480-1510

Series:

Antonia Fondaras

In The Choir Altarpieces of Santo Spirito, 1480-1510, Antonia Fondaras reunites the fifteenth-century altarpieces painted by Botticelli, Piero di Cosimo, Filippino Lippi, and other masters for the choir of the Augustinian church of Santo Spirito in Florence. Departing from a conventional focus on artist and patron, the author illuminates the engagement of the Augustinian Hermit friars with the composition and iconography of these pictures, and discusses how they were used to fashion the choir into a space suited to the friars’ institutional and spiritual ideals. Fondaras includes a close reading of the choir’s most compelling and original altarpieces, which were grounded in the writings of Augustine and provided a focal point for the friars’ sophisticated meditative practices.

Belebungskünste

Praktiken lebendiger Darstellung in Literatur, Kunst und Wissenschaft um 1800

Edited by Nicola Gess, Agnes Hoffmann and Annette Kappeler

Der Band mit Beiträgen aus Literatur-, Kultur-, Theaterwissenschaft und Philosophie widmet sich Praktiken lebendiger Darstellung um 1800 und ihren Diskursen, Institutionen und gesellschaftlichen Kontexten.
Das Ideal einer lebendigen Darstellung hat um 1800 in ästhetischer Theorie und künstlerischer Praxis Konjunktur. Große Beliebtheit genießen insbesondere Präsentations- und Aufführungsformen – z.B. von Sprach- und Bildkunstwerken, aber auch von naturwissenschaftlichen Experimenten –, denen die Fähigkeit zugetraut wird, Lebendigkeit nicht nur zu reflektieren, sondern auch performativ zu erzeugen. Darauf verweist die neue Popularität von Deklamationskonzerten, Vorlesegesellschaften, Darbietungen von tableaux vivants oder von mikroskopischen und akustischen Experimenten in geselliger Runde u.v.m. In ihnen werden Prozesse der Verlebendigung als ästhetische Ereignisse erlebt, wie die Beiträge des Bandes am Beispiel von Ludwig Tieck, E.T.A. Hoffmann, Elise Bürger, Christian Gotthold Schocher, Immanuel Kant, Johann Gottfried Herder, Jakob Michael Reinhold Lenz und anderen nachvollziehen.

Berührung

Taktiles in Kunst und Theorie

Edited by Carolin Meister and Kristin Marek

Berührung beschreibt ein Verhältnis zur Welt. Sie durchkreuzt die Aufteilung der Sinne ebenso, wie die Trennung von Subjekt und Objekt. Welche Potenziale und Problemstellungen ergeben sich daraus? Wie steht es um Formen der Berührung und Bedingungen des Taktilen in Kunst und Theorie? Kunst betrachten heißt gemeinhin Distanz bewahren: sich dem Sehsinn überlassen, Abstand halten. Das ist nicht nur eine Schulung in Disziplin, die in den bürgerlichen Institutionen der Kunstausstellung eingeübt, sozial kontrolliert und längst auch technisch gesichert wird. Abstand zum Betrachter ist der Ausstellungskunst selbst eingeschrieben. Doch nicht erst seit technische Medien der Berührung und interaktive Ausstellungsformate die Museen erobert haben, stellt sich die Frage nach den Potenzialen des Taktilen in der Kunst.

Late Antique Images of the Virgin Annunciate Spinning

Allotting the Scarlet and the Purple

Series:

Catherine Gines Taylor

In Late Antique Images of the Virgin Annunciate Spinning: allotting the scarlet and the purple, Catherine Gines Taylor traces the way early Christians assimilated the symbolism of spinning into images of the Annunciation. Taylor offers an art historical and interdisciplinary look at the earliest images of Mary spinning, underscoring the iconographic model of idealized matronage consistent with lay piety and the cult of Mary. The personal and domestic nature of this motif is evidence toward popular Mariological devotion that preceded the exclusive, semi-divine presentation of the Theotokos, and stands in contrast with traditional ascetic models for Mary.