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Vol. 58 (2008) through current issue
Archives of Asian Art is an annual journal devoted to the arts of South, Southeast, Central, and East Asia. Each issue presents articles by leading scholars and a selection of outstanding works of Asian art acquired by North American museums during the previous year. The editors attempt to maintain a balanced representation of regions and types of art, as well as a variety of scholarly perspectives.
Ornamentation and Devotion
Since ancient times, Hindus have expressed their love and devotion to their deities through beautiful ornamentation -- dressing and decorating the deities with elaborate clothing, jewelry, and flowers. In this pioneering study of temples in Vrindaban and Jaipur, India, Cynthia Packert takes readers across temple thresholds and into the god Krishna's sacred domain. She describes what devotees see when they behold gorgeously attired representations of the god and why these images look the way they do. She discusses new media as well as global forms of devotion popular in India and abroad. The Art of Loving Krishna opens a universe of meaning in which art, religious action, and devotion are dynamically intertwined.
Evil and the Rhetoric of Legitimacy in Medieval Japanese Buddhism
This is a study of visual and textual images of the mythical creature tengu from the late Heian (897–1185) to the late Kamakura (1185–1333) periods. Popularly depicted as half-bird, half-human creatures with beaks or long noses, wings, and human bodies, tengu today are commonly seen as guardian spirits associated with the mountain ascetics known as yamabushi. In the medieval period, however, the character of tengu most often had a darker, more malevolent aspect. Haruko Wakabashi focuses in this study particularly on tengu as manifestations of the Buddhist concept of Māra (or ma), the personification of evil in the form of the passions and desires that are obstacles to enlightenment. Her larger aim is to investigate the use of evil in the rhetoric of Buddhist institutions of medieval Japan. Through a close examination of tengu that appear in various forms and contexts, Wakabayashi considers the functions of a discourse on evil as defined by the Buddhist clergy to justify their position and marginalize others.
Early chapters discuss Buddhist appropriations of tengu during the late twelfth and thirteenth centuries in relation to the concept of ma. Multiple interpretations of ma developed in response to changes in society and challenges to the Buddhist community, which recruited tengu in its efforts to legitimize its institutions. The highlight of the work discusses in detail the thirteenth-century narrative scroll Tengu zōshi (also known as the Shichi Tengu-e, or the Seven Tengu Scrolls), in which monks from prominent temples in Nara and Kyoto and leaders of “new” Buddhist sects (Pure Land and Zen) are depicted as tengu. Through a close analysis of the Tengu zōshi’s pictures and text, the author reveals one aspect of the critique against Kamakura Buddhism and how tengu images were used to express this in the late thirteenth century. She concludes with a reexamination of the meaning of tengu and a discussion of how ma was essentially socially constructed not only to explain the problems that plague this world, but also to justify the existence of an institution that depended on the presence of evil for its survival.
Drawing on a wide range of primary sources, Wakabayashi provides a thoughtful and innovative analysis of history and religion through art. The Seven Tengu Scrolls will therefore appeal to those with an interest in Japanese art, history, and religion, as well as in interdisciplinary approaches to socio-cultural history.
36 illus., 4 in color
Perspectives on the Japanese Visual Arts, 1868-2000
Research outside Japan on the history and significance of the Japanese visual arts since the beginning of the Meiji period (1868) has been, with the exception of writings on modern and contemporary woodblock prints, a relatively unexplored area of inquiry. In recent years, however, the subject has begun to attract wide interest. As is evident from this volume, this period of roughly a century and a half produced an outpouring of art created in a bewildering number of genres and spanning a wide range of aims and accomplishments. Since Meiji is the first sustained effort in English to discuss in any depth a time when Japan, eager to join in the larger cultural developments in Europe and the U.S., went through a visual revolution. Indeed, this study of the visual arts of the nineteenth and twentieth centuries suggests a fresh history of modern Japanese culture—one that until now has not been widely visible or thoroughly analyzed outside that country.
In this extensive collection, which includes some 190 black-and-white and color reproductions, scholars from Japan, Europe, Australia, and America explore an impressive array of subjects: painting, sculpture, prints, fashion design, crafts, and gardens. The works discussed range from early Meiji attempts to create art that referenced Western styles to postwar and contemporary avant-garde experiments. There are, in addition, substantive investigations of the cultural and intellectual background that helped stimulate the creation of new and shifting art forms, including essays on the invention of a modern artistic vocabulary in the Japanese language and the history of art criticism in Japan, as well as an extensive account of the career and significance of perhaps the best-known Japanese figure concerned with the visual arts of his period, Okakura Tenshin (1862–1913), whose Book of Tea is still widely read today.
Taken together, the essays in this volume allow readers to connect ideas and images, thus bringing to light larger trends in the Japanese visual arts that have made possible the vitality, range, and striking achievements created during this turbulent and lively period.
Contributors: Stephen Addiss, Chiaki Ajioka, John Clark, Ellen Conant, Mikiko Hirayama, Michael Marra, Jonathan Reynolds, J. Thomas Rimer, Audrey Yoshiko Seo, Eric C. Shiner, Lawrence Smith, Shuji Tanaka, Reiko Tomii, Mayu Tsuruya, Toshio Watanabe, Gennifer Weisenfeld, Bert Winther-Tamaki, Emiko Yamanashi.
164 illus., 30 in color