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Centering Periphery: New Perspectives on Collecting East Asia, edited by Nataša Vampelj Suhadolnik, explores East Asian collections in "peripheral" areas of Europe and North America and their relationship with the collections of that kind in former imperial and colonial centres. Authors not only present the stories of a number of less well-known individual objects and collections, but also discuss the socioeconomic conditions, fashion trends, and evolving tastes in collecting East Asian objects in areas that were not European centres of colonial power.
To date, research on the collecting East Asian objects in the Euro-American region has focused primarily on larger collections and collectors in France, Britain, and the United States. The first traces of stories from the periphery already point to some important departures from the dominant discourses and practises of East Asian collecting, as well as the adaptation and questioning of established taxonomies and knowledge systems.
With contributions by Tina Berdajs, CHOU Wei-chiang, Györgyi Fajcsák, HAN Jin, Sarah Laursen, Beatrix Mecsi, MOTOH Helena, Stacey Pierson, Maria Sobotka, Filip Suchomel, Barbara Trnovec, Nataša Vampelj Suhadolnik, Brigid Vance, Maja Veselič, Nataša Visočnik Gerželj, Bettina Zorn.
To date, research on the collecting East Asian objects in the Euro-American region has focused primarily on larger collections and collectors in France, Britain, and the United States. The first traces of stories from the periphery already point to some important departures from the dominant discourses and practises of East Asian collecting, as well as the adaptation and questioning of established taxonomies and knowledge systems.
With contributions by Tina Berdajs, CHOU Wei-chiang, Györgyi Fajcsák, HAN Jin, Sarah Laursen, Beatrix Mecsi, MOTOH Helena, Stacey Pierson, Maria Sobotka, Filip Suchomel, Barbara Trnovec, Nataša Vampelj Suhadolnik, Brigid Vance, Maja Veselič, Nataša Visočnik Gerželj, Bettina Zorn.
Volume Editor:
Centering Periphery: New Perspectives on Collecting East Asia, edited by Nataša Vampelj Suhadolnik, explores East Asian collections in "peripheral" areas of Europe and North America and their relationship with the collections of that kind in former imperial and colonial centres. Authors not only present the stories of a number of less well-known individual objects and collections, but also discuss the socioeconomic conditions, fashion trends, and evolving tastes in collecting East Asian objects in areas that were not European centres of colonial power.
To date, research on the collecting East Asian objects in the Euro-American region has focused primarily on larger collections and collectors in France, Britain, and the United States. The first traces of stories from the periphery already point to some important departures from the dominant discourses and practises of East Asian collecting, as well as the adaptation and questioning of established taxonomies and knowledge systems.
With contributions by Tina Berdajs, CHOU Wei-chiang, Györgyi Fajcsák, HAN Jin, Sarah Laursen, Beatrix Mecsi, MOTOH Helena, Stacey Pierson, Maria Sobotka, Filip Suchomel, Barbara Trnovec, Nataša Vampelj Suhadolnik, Brigid Vance, Maja Veselič, Nataša Visočnik Gerželj, Bettina Zorn.
To date, research on the collecting East Asian objects in the Euro-American region has focused primarily on larger collections and collectors in France, Britain, and the United States. The first traces of stories from the periphery already point to some important departures from the dominant discourses and practises of East Asian collecting, as well as the adaptation and questioning of established taxonomies and knowledge systems.
With contributions by Tina Berdajs, CHOU Wei-chiang, Györgyi Fajcsák, HAN Jin, Sarah Laursen, Beatrix Mecsi, MOTOH Helena, Stacey Pierson, Maria Sobotka, Filip Suchomel, Barbara Trnovec, Nataša Vampelj Suhadolnik, Brigid Vance, Maja Veselič, Nataša Visočnik Gerželj, Bettina Zorn.
Islamic art is often misrepresented as an iconophobic tradition. As a result of this assumption, the polyvalence of figural artworks made for South Asian Muslim audiences has remained hidden in plain view.
This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah.
Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.
This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah.
Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.
Islamic art is often misrepresented as an iconophobic tradition. As a result of this assumption, the polyvalence of figural artworks made for South Asian Muslim audiences has remained hidden in plain view.
This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah.
Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.
This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah.
Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.
The introduction of writing enables new forms of literature, but these can be invisible in works that survive as manuscripts. Through looking at inscriptions of poetry on garbage and as graffiti, we can glimpse how literature spread along with writing.
This study uses these lesser-studied sources, including inscriptions on pottery, architecture, and especially wooden tablets known as mokkan, to uncover how poetry, and literature more broadly, was used, shared and thrown away in early Japan. Through looking at these disposable and informal sources, we explore the development of early Japanese literature, and even propose parallels to similar developments in other societies across space and time.
This study uses these lesser-studied sources, including inscriptions on pottery, architecture, and especially wooden tablets known as mokkan, to uncover how poetry, and literature more broadly, was used, shared and thrown away in early Japan. Through looking at these disposable and informal sources, we explore the development of early Japanese literature, and even propose parallels to similar developments in other societies across space and time.
The introduction of writing enables new forms of literature, but these can be invisible in works that survive as manuscripts. Through looking at inscriptions of poetry on garbage and as graffiti, we can glimpse how literature spread along with writing.
This study uses these lesser-studied sources, including inscriptions on pottery, architecture, and especially wooden tablets known as mokkan, to uncover how poetry, and literature more broadly, was used, shared and thrown away in early Japan. Through looking at these disposable and informal sources, we explore the development of early Japanese literature, and even propose parallels to similar developments in other societies across space and time.
This study uses these lesser-studied sources, including inscriptions on pottery, architecture, and especially wooden tablets known as mokkan, to uncover how poetry, and literature more broadly, was used, shared and thrown away in early Japan. Through looking at these disposable and informal sources, we explore the development of early Japanese literature, and even propose parallels to similar developments in other societies across space and time.
Series:
Sinica Leidensia, Volume: 158
After the strikingly beautiful Peony Pavilion, how could one write about love and the ideal of emotional authenticity (qing) in the chuanqi genre?
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
Series:
Sinica Leidensia, Volume: 158
After the strikingly beautiful Peony Pavilion, how could one write about love and the ideal of emotional authenticity (qing) in the chuanqi genre?
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
This book presents a group of creative dramatists who confronted this challenge by giving the romantic theme of chuanqi their unique comic twists. This book demonstrates how their comic articulations bring the qing ideal down to the mundane world of family obligations, political ambitions, commercial interests, and gender frustrations.
By highlighting the crucial but understudied role that the comic plays, this book enriches our understanding of the intellectual depth and critical scope of the chuanqi genre.
Abstract
Wu Bing’s
Abstract
Wang Yun’s
Abstract
Li Yu’s
Abstract
Ruan Dacheng’s Yanzi jian