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Muqarnas 37 introduces new research on Islamic material culture ranging from Abbasid period mosaics to the early twentieth-century art market. Featured articles include Charles Melville’s introduction of a chronicle that sheds light on the architectural program of Shah ʿAbbas I, in particular his patronage of the dynastic shrine at Ardabil. From the Ottoman period, two essays discuss painted manuscripts: the first traces shifting representations of urban space in late sixteenth-century Istanbul, and the second focuses on sumptuous objects—namely, candy gardens and decorated palms—accompanying the extraordinary 1720 circumcision festival under Sultan Ahmed III. Another article seeks to unravel the mysterious origins of an unusually sophisticated painting of Mecca from the seventeenth or eighteenth century. Other topics covered are archaeological finds in Tunisia, and the legacy of Russian modernization efforts in the architecture of East Anatolia, especially the city of Kars. The Notes and Sources section examines the waqfiyya of the earliest surviving Halveti lodge in Amasya, as well as the function of various types of lamps in contemporary Pakistani Sufi shrines.
In: Asian Diasporic Visual Cultures and the Americas
Author: Laura Kina

This article examines how Okinawan Indigenous identity is influenced by “minor” Trans-Pacific interchanges between the Native Hawaiian sovereignty movement and Native American discourses on Indigeneity. Drawing from interviews with fellow Okinawan diaspora artist Denise Uyehara, the author explores their parallel responses as fourth generation Okinawan Americans to the recent resurgence of Okinawan Indigenous cultural history, practice, and identity. Uyehara’s collaboration with Native American artists in the performance Archipelago (2012) with Adam Cooper-Terán (Yaqui/Chicano), Ancestral Cartographic Rituals (2017) in collaboration with the late Payómkawichum, Ipi, and Mexican-American artist James Luna (1950–2018), and the immersive theatre project Shooting Columbus (2017) collaboration with The Fifth World Collective, is put into conversation with Kina’s painting series Sugar and Blue Hawai‘i (2010–2013) about Hawaiian sugar plantations and her trilingual illustrated children’s book Okinawan Princess: Da Legend of Hajichi Tattoos (Bess Press, 2019) written by Hawai‘i Creole author Lee A. Tonouchi.

In: Asian Diasporic Visual Cultures and the Americas
In: Asian Diasporic Visual Cultures and the Americas

This article focuses on selected art works by third-generation Zainichi Koreans Haji Oh and Soni Kum, and Okinawan-based Chikako Yamashiro to explore ways in which these artists have continued to develop innovative, interdisciplinary practices to explore contact zones and liminal spaces in the East Asian context. Drawing on Françoise Lionnet and Shu-mei Shih’s notion of minor transnationalism, it argues the creative interventions of the three artists shed light on complex histories of minor transnationalism and at the same time alert us to ways in which the legacies of colonialism, migration and war continue to evolve in the present in Okinawa, Jeju Island, and Japan. Deploying different media, practices and techniques, all three artists aim to deterritorialize dominant visual and historical narratives and draw inspiration from minor literatures in ways that disrupt binary and vertical relationships, making visible minor to minor connections and ways of envisioning horizontal networks.

In: Asian Diasporic Visual Cultures and the Americas