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VOLUME 17 NO. 2 JUNE 2008 T contents

Volume 17 No.2 June 2008

3 EDITORIAL: FINDING A FOCUS TAASA REVIEW Sandra Forbes THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. Abn 64093697537 • Vol. 17 No. 2, June 2008 ISSN 1037.6674 4 DEE COURT, 1944-2008: A TRIBUTE Registered by Australia Post. Publication No. NBQ 4134 Gill Green editorIAL • email: [email protected] 6 TASHI KABUM: A MUSTANG TREASURE REVEALED General editor, Josefa Green Gerry Virtue Editor this issue, Sandra Forbes

publications committee 9 THOLING MONASTERY: COOPERATION AND CONSERVATION Josefa Green (convenor) • Melanie Eastburn • Sandra Rong Fan Forbes • Ann MacArthur • Jim Masselos • Ann Proctor Susan Scollay • Sabrina Snow • Christina

12 COLLECTOR’S CHOICE: A TIBETAN DRAGON CHEST Sumner design/layout Todd Sandeman Ingo Voss, VossDesign

13 COLLECTOR’S CHOICE: A MONGOLIAN YAMA printing John Fisher Printing Boris Kaspiev and Richard Price Published by The Asian Arts Society of Australia Inc. 14 TRAVELLER’S CHOICE: POLISH ART DECO IN INDIA PO Box 996 Potts Point NSW 2011 www.taasa.org.au Maria Wronska-Friend Enquiries: [email protected]

15 NEW SOUTH ASIAN GALLERY IN TORONTO TAASA Review is published quarterly and is distributed to members Haema Sivanesan of The Asian Arts Society of Australia Inc. TAASA Review welcomes submissions of articles, notes and reviews on Asian visual and performing arts. All articles are refereed. Additional copies and 16 RAFFLES AND PRAMBANAN subscription to TAASA Review are available on request. Philip Courtenay No opinion or point of view is to be construed as the opinion of The Asian Arts Society of Australia Inc., its staff, servants or agents. 18 DJUWADI: FOLDING THE RELATIONAL INTO ART No claim for loss or damage will be acknowledged by TAASA Alexandra Crosby Review as a result of material published within its pages or in other material published by it. We reserve the right to alter or omit any article or advertisements submitted and require 21 EXHIBITION: MULTIPLE LIVES, PARALLEL TRADITIONS indemnity from the advertisers and contributors against damages Devleena Ghosh or liabilities that may arise from material published.

All reasonable efforts have been made to trace copyright holders. 22 REPORT: FUNDING DEVELOPMENTS, ASIAN ARTS TAASA MEMBERSHIP RATES $60 Single 23 INTERNATIONAL SYMPOSIUM ON BUDDHIST ART $90 Dual Ann MacArthur $90 Single overseas (includes postage) $30 Concession (students/pensioners with ID) 24 TAASA MEMBERS’ DIARY $95 Libraries (overseas, $95 + $20 postage) $195 Corporate/institutional (up to 10 employees) 25 RECENT TAASA ACTIVITIES $425 Corporate/institutional (more than 10 employees) $650 Life membership (free admission all events) 26 WHAT’S ON: JUNE – AUGUST 2008 advertising RATES TAASA Review welcomes advertisements from appropriate companies, institutions and individuals. Rates below are GST inclusive.

Back page $850 Full inner page $725 Half page horizontal $484 Third page (vertical or horizontal) $364 Half column $265 COVER Insert $300 Two Rajput princes, India (Jodhpur, Rajasthan), c. 1910. Opaque watercolour with gold,

silver and mica on cotton, 75.6 x 91 cm. Collection National Gallery of Australia, For further information re advertising, including

Canberra (1992.1374); shown in the recent exhibition Intimate Encounters at the discounts for regular quarterly advertising, please contact [email protected] Art Gallery of New South Wales. See p. 23 this issue.

The deadline for all articles A FULL Index of articles published in TAASA Review since its beginnings for our next issue is 1 JULY 2008 in 1991 is available on the TAASA WEB SITE, WWW.taasa.org.au The deadline for all aDvertising for our next issue is 1 AUGUST 2008

2 TAASA C O M M I T T E E EDITORIAL: FINDING A FOCUS

Sandra Forbes

Judith Rutherford • President People everywhere have been appalled and Asia and the Himalayas. Some core articles Collector and specialist in Chinese textiles saddened at the loss of life caused by the were submitted – for example, Gerry Virtue’s Gill Green • Vice President recent natural disasters in Burma and China. about his adventures in Mustang – others Art historian specialising in Cambodian culture The scale of destruction been so horrifying were commissioned because they seemed ANN GUILD • TREASURER Former Director of the Embroiders Guild (UK) that even to think about whether works of art appropriately contingent. And there you are. KATE JOHNSTON • SECRETARY and architecture will have survived or might Intellectual property lawyer with be restored seems heartless or even irrelevant. Maybe this South Asia leaning was in some an interest in Asian textiles But of course it is not irrelevant. The world’s subtle way due to our wish in this issue to JOCELYN CHEY history and civilisation is recorded in its arts. celebrate the life of the beautiful Dee Court, Visiting Professor, Department of Chinese Studies, whose gift for friendship combined with her University of Sydney; former diplomat As is clear from a number of articles in passion for South and Central Asian art to Philip Courtenay this issue of TAASA Review, the protection provide wonderful experiences for so many Former Professor and Rector of the Cairns Campus, James Cook University, with a special interest in and conservation of Asian works of of people. A tribute to Dee is, appropriately, our Southeast Asian ceramics art, particularly in situ, continues to be a lead article in this issue. MELANIE EASTBURN significant problem. For example, Rong Fan Curator of Asian art, National Gallery of Australia describes the restoration of murals at Tholing While Dee’s principal fascination and Sandra Forbes Monastery, western Tibet, where the temple expertise in recent years was with the Islamic Editorial consultant with long-standing interest in South and Southeast Asian art was used as a barn during the Cultural arts (particularly the textiles) of Central Asia, Josefa Green Revolution; Philip Courtenay’s paper on she also loved the decorative arts of the General editor of TAASA Review. Collector of Chinese Prambanan in Java mentions the significant Indian sub-continent. She would have loved ceramics, with long-standing interest in East Asian damage inflicted by an earthquake in 2006. the two Rajasthani princes who appear on the art as student and traveller GERALDINE HARDMAN cover of this issue, and would have analysed Collector of Chinese furniture and Burmese lacquerware Museums and public and private foundations the details of their garments and jewellery ANN PROCTOR play a major role in both protection of meticulously – including their watches, of Lecturer in Asian Art, Sydney University sites and conservation of objects for future which they are so proud that they wear them and the National Art School, Sydney generations. Therefore I’m sure that TAASA outside their cuffs. She would have enjoyd ANN ROBERTS members will be pleased to read in this the exhibition Intimate Encounters, in which Art consultant specialising in Chinese issue (p. 22) about increased interest among this painting was recently shown, and have ceramics and works of art SABRINA SNOW Australian public galleries and museums in appreciated Devleena Ghosh’s review here. Has a long association with the Art Gallery of New funding the arts of Asia. The National Gallery Dee would have been pleased to know that South Wales and a particular interest in the arts of China of Victoria has recently launched a new Asian a new South Asian gallery has opened in CHRISTINA SUMNER Art Acquisition Fund; VisAsia at the Art Toronto, and would have enjoyed knowing Principal Curator, Design and Society, Gallery of NSW is behind an increasing more about the Umaid Bhawan Palace at Powerhouse Museum, Sydney number of events and acquisitions; the Jodhpur in Rajasthan – which is not far from state representatives Director of the National Gallery of Australia where she died. has announced that his Gallery’s central Australian Capital Territory priority will be to purchase Australian and Our cover painting was obviously influenced Robyn Maxwell Visiting Fellow in Art History, ANU; Asia-Pacific works; the Art Gallery of South by photography, which has in itself played Senior Curator of Asian Art, National Gallery of Australia Australia is building a significant collection a vital role in recording Asian art, history Northern Territory of Islamic Art (ref. TAASA Review December and civilisation. The next (September 2008) Joanna Barrkman 2007); and Queensland’s new GoMA focuses issue of TAASA Review, guest edited by Dr Curator of Southeast Asian Art and Material Culture, on the contemporary arts of the region. Jim Masselos, will focus on photography. It Museum and Art Gallery of the Northern Territory Private collectors, too, play an important is timed to coincide with the internationally Queensland part in the preservation of art objects. It’s significant exhibition Picture Paradise: the first Suhanya Raffel always stimulating when a collector wants century of Asia-Pacific photography 1840s to Head of Asian and Pacific Art, Queensland Art Gallery to enthuse about their love object, and two 1940s at the National Gallery of Australia, South Australia do so in this issue, writing about an energetic and other associated exhibitions to be held in James Bennett Curator of Asian Art, Art Gallery of South Australia Mongolian bronze Yama and a spectacular Canberra. See our What’s On section for more Victoria Tibetan dragon trunk respectively details. And don’t forget to book for TAASA’s Carol Cains seminar on Beijing (Sydney and Melbourne, Curator of South and Southeast Asian Art, Sometimes, without any particular initial in July and August). National Gallery of Victoria International intention, an issue of TAASA Review TASMANIA seems naturally to develop a focus on a Kate Brittlebank particular subject or geographic area. That Lecturer in Asian History, School of History and Classics, University of Tasmania has happened with this issue, where the majority of articles concern the arts of South

3 DEE COURT, 1 9 4 4 - 2 0 0 8 : A TRIBUTE

Gill Green Dee Court (R) WITH Helen Perry (L) AND Gill Green (C) at the TAASA Textile Group's end of year party, 2006.

Dee Court. Photo ROZ CHENEY Photo Aynsley Cameron

veryone who Dee taught art at school in Mosman; led E knew Dee Court teachers’ ’enrichment’ days at the AGNSW; was shocked and and was an avid quilter together with a close deeply saddened to group of long-time friends. In the 1980s Dee hear of her passing, travelled to South and Southeast Asia, then which was both in the 1990s to Central Asia, initially on her sudden and far too own; but here she befriended Sheila Paine, soon. Her spirit author of The Afghan Amulet, and together moved on while she they travelled, researching and penetrating was leading a tour undaunted into little-known parts of the to northwestern region. This led to Dee leading group tours India in January this year. Some consolation to the ‘stans’ – Uzbekistan, Turkmenistan, for her family and their huge circle of friends Kyrgyzstan and Kazakhstan. These tours and acquaintances is located in this particular were inevitably almost instantly booked out, time and place, a region which she loved and with fellow travellers eager to experience with which she had so many connections her unique insights and enthusiasms. Dee of since the 1970s. course befriended many professional curators and textile craftspeople in the ‘stans’, and they From early in her adult life, Dee’s personal too will be devastated to hear that she will not interests were involved in things textile- be returning. related. She herself was a living embodiment garments with vestigial sleeves) and chachvans of her textile interests - she so often wore, These travels and enthusiasms fuelled Dee’s (horsehair face veils) of the Central Asian and with such flair, gorgeous examples of passion for collecting; but at the same time region specially attracted her attention. Dee either traditional costumes or contemporary she was quietly carrying out groundbreaking eventually located the people who made the versions of Asian or Central Asian dress. research. Garments such as paranjas (coat-like panels of horsehair from which the veils were

In the desert NW of Khiva, Uzbekistan, 2005. L-R Helen Clark, Terry Bisley, Dee Court. Photo Sandy Watson

4 TAASA REVIEW VOLUME 17 NO.2 Eating fish sandwiches, Golden Horn,

In Azerbaijan 2006. Photo Sandy Watson Istanbul, Turkey. 2006

co-convenor until her death. At a memorial meeting of the Textile Study Group on 12 February 2008, participants were encouraged to contribute memories of Dee, and to show the group objects connected with those memories. Christina Sumner, curator of the exhibition Bright Flowers (Powerhouse Museum 2004-05) acknowledged how Dee’s specialist knowledge of Central Asian textiles informed the exhibition. Kate Johnston displayed a Lakai embroidered panel that she purchased when she first met Dee -- by chance, in Peshawar, Pakistan, a decade ago. Lenore Blackwood, another intrepid traveller, recalled how completely unexpectedly she and Dee spotted each other across a crowded street in Baku, Azerbaijan. Joyce Burnard offered memories of how she met Dee through her Indian textile connection with Robin Duffecy, For Dee Peter Court’s sister, and noted that Dee had constructed and, in typical Dee fashion, she read a draft of her book on Indian textiles and After the rain, after the waiting, the chancel taught herself the technique by which these had encouraged her to publish. I brought an Fills with diffracted light were made. example of lotus-stem fibre weaving, a topic Warm sandstone, arching beams, that Dee was planning to research on a trip to tall shafts of glass, Dee’s persistence and application was not Inle Lake, Burma in February 2008 and then A seldom congregation gathering only for collecting and travelling. In 2002 she present to the Textile Study Group -- but she As we have often done embarked on a course of academic study at did not make that trip. TAASA foundation For meetings, papers, happy seminars… the University of New England, and in 2006 member Heleanor Feltham read out a moving The temporal dance of friendships as we fill graduated with a Master’s degree in Islamic poem she had written in memory of Dee Space with our commonality. Studies, with a high distinction. (reproduced, with permission, on the right). I keep expecting you, no opening, Dee was an integral part of Sydney’s broader At this meeting Textile Study Group members no lecture quite complete artistic and cultural scene connecting with were invited to contribute to a fund which will Without your entrance; ethnic communities in Sydney. Together with be used to purchase a textile to be accessioned (You were always elegant as a woven flower. her husband Peter, she was deeply involved into the Powerhouse collection. This textile Jewelled, in a susurrus of fabrics, in the Oriental Rug Society of NSW, in The will constitute a permanent memorial to Dee Upright and brilliant as a striped tulip) Asian Arts Society of Australia, and in VisAsia, in the public domain. the Asian art support group of the Art Gallery Never complete without your generosity of NSW. Gill Green is co-convenor of TAASA’s Textile Study Of knowledge, spirit, friendship, Group, and the author of Traditional Textiles of Sharing of food, sharing of sheer delight In 1999, Dee took over the role of convenor Cambodia (2003) and the forthcoming Pictorial In Silk Road spaces and the artistry of the TAASA Textile Study Group from Cambodian Textiles (2008). Of woven things. Ann Baker, founder of the Study Group. She remained as a most efficient and inspiring You saw the passion held in tight constraint Within the mathematics of the loom, The women’s arts that quietly subvert The narrow lives of custom; Saw the palimpsest Of years and lives behind the bright facades And glittering tiles of fabled Samarkand.

You were always one to go a little further Beyond the Silk Road to uncharted zones - The unknown siren spaces call you now; While we, shut out from light like evening moths Beat with our ragged wings against the glass; And moving on, you break through into brightness.

Heleanor Feltham March 2008

Tour group at the Caravanserai dinner, Tashkent, Uzbekistan, 2005. Photo Sandy Watson

TAASA REVIEW VOLUME 17 NO.2 5 TASHI KABUM: A MUSTANG TREASURE REVEALED

Gerry Virtue

had wanted to visit the tiny kingdom of floodwaters were rushing through the world’s the future Buddha – was constructed by King I Upper Mustang (ethnically Tibetan but deepest gorge between two Himalayan giants, Ame Pal around 1430 CE, around the same for centuries part of Nepal) and its old walled Mt Annapurna and Mt Dhaulagiri. During the time, and in the same Tibeto-Newar style, as capital of Lo Manthang ever since reading trek upriver along the ancient trade route to the well-known Gyantse Kumbum in Southern Michel Peissel’s 1964 book Mustang, A Lost Tibet, the rain continued to pour down until Tibet. (Newars, the indigenous people of the Tibetan Kingdom. In August 2007, an unusually I emerged into the rain-shadow north of the Kathmandu Valley, were the master artists/ intense Himalayan monsoon fortuitously Himalayas, where, as I entered Mustang, the craftsmen of the period; on a ‘have brush, diverted me there (my original intended downpour stopped. will travel’ basis, they worked and travelled destination was Mt Kailas in Tibet). widely in Central and Southern Tibet). Lo, as the kingdom of Mustang is known to On the map, Mustang is a bump on the its inhabitants, is a high altitude desert region Over the centuries, the Jampa’s paintings, northern border of Nepal, projecting into with yellow, ochre and grey hills, eroded including a unique group of mandalas, had Tibet. Until the early 1970s, the Khampas of escarpments and emerald green cultivation deteriorated until they were almost completely Eastern Tibet used the area, which has an in a few well-favoured valleys; spectacularly obscured by butter-lamp smoke, grime and average altitude of around 4000 metres, as a sited villages lie scattered along the ancient water damage. The American Himalayan base in their guerrilla war against the Chinese trail that leads on into Tibet. From a spartan Foundation has funded an extensive Jampa invasion of Tibet, and for a long time the area guest house probably built around the 16th Restoration Project, and in the temple I was was closed to outsiders; the ban was lifted century, I set out to explore the tortuous lanes able to talk with Italian art conservator Luigi only in 1992 . Big attractions for me were the of the walled medieval city. Founded by the Fieni, who had worked on the restoration wall paintings in two 15th century temples warrior king Ame Pal in the late 14th century, of the Sistine Chapel and who has been in Mustang’s capital Lo Manthang, and the Lo Manthang still has a king, the 25th direct coming to Lo Manthang for the past nine years. 13th century wall paintings of Luri Kabum, descendant. As early as the eighth century, He and two colleagues are presently working a remote stupa cave in a valley southeast of Lo was recorded in Tibetan and Dunhuang on and supervising the Jampa project, which this tiny medieval city. Then, in May 2007, annals, and the mud wall ruins of various hill- also employs some 40 local artists (see the Mustang acquired even stronger appeal when top forts indicate that it was a southern part film Lost Treasures of Tibet). It was simply I read the report of the discovery of a 12th of the even earlier pre-Buddhist kingdom of magic to see, under their arc-lamps, the 15th century cave containing 55 wall paintings, to Zhang-Zhung (Bellezza 1998-99). century masterpieces emerging from the the northeast of the capital at an altitude of ancient grime. 3400 metres. The international discovery team Being within Nepal’s borders, Mustang’s called this the ‘Snow Leopard Cave’, as it Tibetan art and culture were spared the Mr Fieni was one of the team of Nepalese, had been the lair of one of these magnificent, ravages of the Chinese occupation of Tibet and Italian and American art conservators, elusive animals. the destruction of the Cultural Revolution. archeologists, conservation architects and The old city possesses two fine old temples, mountaineers who earlier in the year had Lo Manthang was a demanding eight day each with outstanding wall paintings dating discovered the ‘Snow Leopard Cave’ with walk due north from the little Nepalese from the early 15th century. The earlier of the its intact 12th century Pala-style paintings. town of Beni beside the Kali Gandaki River, two, Jampa Lhakang – as the name indicates, The fact that his team included experienced where the raging, gun-metal grey monsoon it contains a monumental image of Maitreya, mountaineers should have alerted me, but when he suggested I go and take a look for myself, I gave mountaineering little thought, and next morning enthusiastically hired two ponies with my guide, Bhim. We rode off northeast into the fantastic, eroded organ- pipe conglomerate landscape of Chhosar, with its hundreds of man-made caves, many still inhabited.

Beyond Chhosar, in a high, desolate and uninhabited valley, I began to realise why the discovery team had included skilled climbers. After we left our horses and climbed a high rocky ridge, the faint trail became rough steps which led down to a perilous ledge. The trail then descended further into a rocky chasm, from where it climbed another high, knife-like ridge, and from this ridge-top disappeared down a further precipitous slope to the cave. Exhaustion, lack of climbing skills, and sheer Lo Manthang, a walled city founded in the 14th century, capital of the Kingdom of Lo,

Upper Mustang, Nepal. Photo Gerry Virtue 2007

6 TAASA REVIEW VOLUME 17 NO.2 Chapel at the entrance to the 13th century

cave temple of Luri Kabum, Upper Mustang, Nepal.

Photo Gerry Virtue 2007

India.) Learning of Luri’s new self-created I explained the camera’s basic functions, and stupa, Lama Kunsang flew there (sic), alighting off he set up the precarious slope, followed by on a large boulder atop a particularly striking my guide Bhim and one of our porters. Neither needle-like, weathered spire. According to this of them could get far, however, while the agile legend, before returning to Damodar Kund he Mr Pasang soon disappeared into the cave, painted the stupa and the walls of the cave reappearing a few moments later at a small with the images we find today. opening further along the rock face to give us a reassuring wave. Half an hour later he was And Mr Pasang had another surprise. Why do back, smiling broadly. As if an old hand with Westerners like the Luri paintings so much? a digital camera, he had taken a number of he asked. This was not easy to answer, but well-composed and reasonably comprehensive I explained that they were very fine, quite photos. These showed that the cave had similar unique, and from a very early period when dimensions to Luri Kabum, that its paintings Newari painters were the artistic masters of had many of the same elements and were more the region. I see, he said; well, if you like, I can or less contemporary with them. Mr Pasang show you another cave down the valley that also reported that the stupa had been broken has paintings like this. What? More paintings into, presumably in a hunt for treasure, and terror prevented me from going further than like this? Sure, he said: in Tashi Kabum. that a rough hole had been cut into the wall the ledge. This was a name I had not heard before. Mr opposite the original entrance. Pasang explained that an American tour While the ‘Snow Leopard Cave’ proved beyond group leader who enjoyed climbing had Apart from this damage, and some flaking, me, I was nevertheless buoyed at the prospect discovered the cave (Tashi Kabum) some the paintings appear to be in good condition, of visiting Luri Kabum, a 13th century stupa years ago (McCue 1992). somewhat better than those of Luri, probably cave in a remote valley two days southwest because access is so difficult. Unlike Luri, of Lo Manthang. The trek was strenuous but To say I was astonished would be a serious however, there are only two principal figures: the site was by no means inaccessible, and understatement. But then I thought about it. a four-armed, radiantly white Shadakshari with Bhim and our two porters I reached There are caves all over Mustang, hundreds (six syllables) Lokesvara, a form of Mahayana Luri Gompa, beyond the village of Yara and clearly visible in this valley alone, almost all Buddhism’s most venerated bodhisattva at the foot of a fantastic array of fluted, organ inaccessible, so it was quite conceivable some Avalokitesvara, of whom the later Dalai pipe spires and pinnacles. High above us Luri of them might contain paintings. But paintings Lamas were believed to be manifestations; Kabum lay hidden behind a precariously- of the quality of Luri? The prospect was and a lama tentatively identified (with thanks perched, ochre-painted chapel, surrounded by irresistible, and Mr Pasang good-heartedly to David Templeman) as Rinchen Zangpo dozens of other caves and weather-sculpted led us back down the valley to where a group ‘the Great Translator’, who is a much revered spires. The difficult scramble to reach it was of caves loomed high above us in a cliff face, figure, particularly in the Western Himalayas. nothing like the death-defying approach to caves we had passed on our way to Luri. He was one of 21 monks sent to India to study the ‘Snow Leopard Cave’, and seeing the 13th Buddhism in the mid-10th century by the century paintings around the walls and ceiling Alas, they were quite inaccessible, at least to ruler of the West Tibetan kingdom of Guge, of the cave was indeed wonderful. The cave me. But not to Mr Pasang. The cave was some at a time when Buddhism had virtually been measures about five metres square, allowing 50 or 60 metres above us on a slightly less extinguished in Central Tibet. Only Rinchen enough room for ritual circumambulation than vertical slope of unstable conglomerate Zangpo and one other monk survived the around a central white stupa. On the ceiling, rock and crumbling earth. He assured me he journey, and he returned to Guge in 978 some five or six metres above us, were painted could climb it easily and had visited the cave CE with many Buddhist works, becoming eight siddhas and a mandala. As these have all several times. If I give you my camera, I asked, a renowned scholar and founding several been published (Neumann 1994, Heller 1999), I would you take a few photos? Sure, he said. So temples in Western Tibet. His life and work will say no more about them other than to relate the local tale of Luri Kabum as told me by Mr Pasang, the schoolteacher at Luri Gompa in the valley below, where he instructs eight pupils.

According to this legend, the stupa in the cave was svayambhu or spontaneously self-created (originally an Indian concept, often applied to Shivalinga, and of course also the name of the famous Buddhist Stupa Temple in the Kathmandu Valley). Its existence was divined by a lama, Kunsang Jaili, who lived in a hermitage beside the sacred lakes of Damodar Kund, about a two day trek southeast of Luri. (Damodar Kund lies at an altitude of some 5000 metres and is within Nepal, very close to the Tibetan border. It is now a pilgrimage destination for Hindus, of whom I met two groups making their way there on foot from Images of Shadakshari Lokesvara and Rinchen Zangpo, c. 13th century, in the stupa cave

of Tashi Kabum, Upper Mustang, Nepal. Photo Gerry Virtue/Mr Pasang 2007

TAASA REVIEW VOLUME 17 NO.2 7 Ceiling Mandala with the eight auspicious symbols in the stupa cave of Tashi Kabum,

Upper Mustang, Nepal. Photo Gerry Virtue/Mr Pasang 2007

various symbols including pearls, vajras, stylised flames, fabric panels and a foliate design. From the outermost of these circles a hanging valance is depicted, comprising small sun and moon symbols, tassels and loops of pearls, each with a pendant jewel (a similar valance is painted along the top of the base of the stupa dome at Luri). Below this is a sumptuous band of flowering lotuses, each the centre of a swirling mass of tendrils and leaves. A similar feature appears at Luri below the eight painted siddhas.

All the elements in the cave’s layout and design emphasise the Lotus and the Jewel, thus paying homage to this form of Avalokitesvara, bodhisattva of compassion. At the time of the construction of Luri Kabum and Tashi Kabum, nearly 200 years before the are celebrated as marking the beginning of the (Heller 2001:70). The mannered, undulating founding of Lo Manthang, the region may ‘second propagation’ of Buddhism into Tibet. hemline on the throne back and drapery, and have been subject to the Khasa Mallas (Tib. the details of garments and jewellery, together Yatse), who were based in Jumla, West Nepal; These two figures dominate the cave and are suggest a late 13th century date for both caves although it was also the time of Kubilai Khan a little larger than any figures in Luri Kabum; (Neumann 1994). In Luri Kabum, jewels and the Mongol-sponsored Sakya ascendancy they are framed side by side in their respective are attached to the throne backs of several in Central Tibet. The two caves are more or aureoles (Shadakshari’s is of stylised flames) images, elements that do not appear in Tashi less equidistant from Jumla and from Sakya in a panel approximately a metre high by Kabum, where the throne backs of each figure Monastery in Southern Tibet. It is difficult one and a half metres wide. The famous six display two geese (hamsa) whose feathers to determine their exact function, who syllable mantra Om Mane Padme Hum is swirl elaborately to form a nimbus around painted them, and why they are located in repeated several times around the cave in the head. Wild geese are symbols of divine such a remote valley, away from major trade large, bold white Tibetan script on each side of knowledge and purity; a perfected being, like routes. Local legend holds that there are other the figures, clearly affirming the dedication of the wild goose, is free from limitation, being painted stupa caves in the area, and further the cave to Shadakshari Lokesvara (another, equally at home on the earth, in the water and down this valley there are indeed many other different mantra is painted beside the entry in the sky. groups of caves, including what may even way, but is partly obliterated). This form of be called a cave city, high on a fluted, eroded Avalokitesvara, holding a crystal rosary in The dome of the ceiling is elegantly painted escarpment, and quite inaccessible other than his upper right hand, a white lotus in his left, with the Eight Auspicious Signs, each to experienced and well-equipped climbers. and clasping a jewel at his heart with the other resting on the russet petal of a stylised lotus, two hands, is also known as ‘Lotus Jewel’. around an inner circle with eight hexagonal Returning down the valley and making my There are many similarities to the figures in jewel shapes and a central circle containing way south out of Mustang, I was left with the Luri Kabum, but some differences. The throne an elaborately-jewelled double vajra, an puzzle of how people gained access to these back and the drapery falling from its corners arrangement suggestive of a mandala. The caves in earlier times. Was the landscape are almost identical to that of a smaller eight-petalled lotus, in turn, is contained then less eroded, perhaps less of a desert and Shadakshari painted on the Luri stupa dome within six concentric circles made up of possessing more vegetation? Had the climate changed? A clue may be that the massive wooden pillars supporting the 15th century temples in Lo Manthang are said to have come from local forests, yet today there is not a tree to be found anywhere in the area.

It could well be a rewarding experience to return to the area with one or two well- equipped, experienced climbers, and to explore the valley for other caves said to be painted in the manner of Luri and Tashi -- although such an expedition would require more funds than the average tourist has at his or her disposal.

Gerry Virtue lives in the Blue Mountains with his wife, Pamela, and is a collector and amateur student of Indian and Himalayan art.

Tashi Kabum cave complex, Upper Mustang, Nepal. Photo Gerry Virtue 2007

8 TAASA REVIEW VOLUME 17 NO.2 THOLING MONASTERY: COOPERATION AND CONSERVATION

Rong Fan

holing Monastery is one of the most Tibet decended into a 30-year civil war. Buddhist scriptures. Together with other T significant Buddhist monuments of the One of the descendants of the Tubo King, young Tibetan monks, the Great Translator many monasteries scattered through the Huidenimargun, fled to the region of Ngari, Rinchen Zangpo , returned to Guge to settle at Himalayan region. Located near the remote where he married the daughter of the chief of Tholing monastery, where he spent most of his town of Zhada (formerly Tsamda) in the valley the local tribe and was crowned king. Later life preaching and translating Buddhist texts. of the Xiangquan River in Ali (formerly Ngari) he divided his kingdom into three parts and in western Tibet, the monastery compound appointed his three sons to reign over them. In 1076, under the sponsorship of King Zelde, covers more than 300,000 square metres and The third son, Desugun, ruled the region in a major religious convocation known as the is encircled by vast barren hills. Tholing dates western Tibet that became the kingdom of ‘Grand Summons Ceremony’ was held at from the 9th-14th century, and is directly Guge. His dynasty lasted for more than 700 Tholing monastery: prominent monks from linked to the period of the Guge kingdom and years, until Ladakhi forces destroyed it. eastern, western and central Tibet gathered the activities of the Great Translator Rinchen to debate doctrine and preach as well as give Zangpo (958-1055 CE). Considered one of The ancient Guge Kindom strongly fostered transmissions in teachings. This ceremony the three major religious foundations of the Buddhism. One king, Sonai, made particular was most significant in both the history of ‘Second Diffusion of the Buddhist Faith’ in extensive efforts, and chose to become a monk the Guge kingdom and the development of the western Himalaya region, the monastery with the ordination name Lama Yeshesve Tibetan Buddhism: Tholing Monastery had documents a key era in Tibetan history. (active 10th-11th centuries). One of his finest now established its status as the leading Although today only five main temples and accomplishments was the construction of the monastery in the western part of the country. a dozen stupas survive, China’s State Council Tholing Monastery in 996 CE and this marked in 1996 listed the monastery (known as the the commencement of the ‘Second Diffusion The monastery has suffered much destruction Tuoling Si in Chinese) as a national cultural of the Buddhist Faith’ in Tibet. during its long history; and due to a lack heritage site. of surviving historical records, events there Lama Yeshesve invited senior monks from subsequent to the Grand Summons Ceremony The history of the Guge kingdom dates back eastern Indian to instruct the Tibetan monks remain a mystery. Nearly half a century later, to Glandarma, 42nd king of the Tubo empire, Sa-du, Gu-na and Za-jia in the Vinaya code: it is said, a disciple of Tsong Khapa arrived at who came to power in 838 CE and, according the Tibetan Vinaya School, following the the monastery and stared to preach the Dge- to records, implemented a series of policies to Indian-based tradition, thus became known lugs-pa (Gelugpa) doctrine, and in 1684 the suppress Buddhism. He encountered strong as the Upper Vinaya School. He also sent fifth Dalai Lama took control of the region. resistance, and was eventually assassinated young Tibetans to Kashmir to study Buddhist In the early 18th century, Tholing became in front of the Jokhang in Lhasa. A fierce teachings and invited prominent Indian affiliated with Lhasa’s great Sera Monastery, struggle for the inheritance of the throne monks, including the famous Indian saint from where leading clergy were sent for three ensued, the Tubo Empire collapsed, and Atisha (982-1054 CE), to preach and translate year tenures. Today the Tholing monastery is

Local pilgrims at the Red Temple (Dukang Court), Tholing monastery, Ali, western Tibet, 14th-15th centuries (Guge kingdom). Photo Rong Fan 2007

TAASA REVIEW VOLUME 17 NO.2 9 Wall paintings of Atisha (left) and Yama Yesheve, northern end of west wall, White Temple, Wall paintings of Atisha and Yama Yesheve at the White Temple, Tholing,

Tholing, before restoration. Photo courtesy the Isabel & Balz Baechi Foundation following restoration in 2007. Photo Rong Fan 2007

in use and hosts about 12 monks, while local structurally, because the building’s use as A comprehensive conservation plan for the people continue to go to the monastery to a barn by local people until the mid-1990s White Temple was then devised, based on the pray and perform other religious activities. meant that it was to some degree maintained. two surveys and subsequent approval by the The site is also promoted by government Despite rain damage, the pigments of the wall TOCR. The first step in the restoration was and tourist agencies as a ‘must see’ tourist paintings and decorated ceiling are still vivid the consolidation of the structure and repair destination in west Tibet. and spectacular today. Although the original to the roof to stop further rain damage. It statues have been destroyed, a group of three was decided to incorporate new materials To celebrate the site’s thousand-year recent statues, including a major image of the and technology to construct a new roof for anniversary, the Chinese State Administration Medicine Buddha with attendants, is installed the ancient bulding, and a series of designs, of Cultural Heritage (SACH) provided funding on the altar. Surviving paintings and statue experiments and tests were conducted to for a large-scale archaeological excavation and bases indicate that there were originally 35 find the best solutions. In the summer 2005, a conservation project in Guge from 1977-99. statues on the altar, and another eight under group of Tibetan craftsman was employed to The main temples at the Tholing Monastery it. Other ruined structures, including bases, implement construction. The combination of were restored, for the first time in the modern indicate there were also a stupa and several Swiss water-resistant materials and Tibetan era, as a result of this initiative. statues on the west side of the temple. traditional craftsmanship proved successful: after two years’ monitoring, no trace of The second conservation project at the Tholing The architecture of the White Temple, and the recurring rain damage on the painted ceiling Monastery was made possible through style of its wall paintings, indicate that it was or walls has been found. cooperation between SACH, the Cultural built between the 14th and 15th centuries. It Relics Bureau of the Tibetan Autonomous reflects the high quality of western Tibetan In 2006 and 2007 an international work team Government (CRBTAG) and the Isabel & Balz art at that time, and document the extent consisting of Swiss and Italian wall painting Baechi Foundation (IBBF), a private Swiss wall of cultural interchange between Tibet and restorers carried out conservation work on the painting conservation foundation. This project neighbouring countries. The temple’s wall White Temple paintings (because of seasonal commenced in the autumn of 2002, when paintings depict mandalas, Tantric deities conditions, they were able to work only four two experts from the Foundation conducted a and patron saints, and also show scenes of months each year). The main damage was general survey of the monastery site and drew- local festivals and daily life. Portraits of Tsong damp, cracking and flaking, so the treatment up a comprehensive conservation plan. Since Khapa (1357-1419 CE) and Rinchen Zangpo was cleaning and consolidation. Only dry this first investigation, developments have are on the northern part of the east wall. cleaning methods were acceptable, because of included: restoration of the wall paintings of A large Avalokiteshvara-mandala is on the the high water-solubility of the binding media the White Temple (LaKanggapo); relocation west part of the southern wall, while images (animal glue) used for the pigments. Dust on of a local school that had been built between of Atisha and Lama Yeshesve appear on the the surface of the wall paintings was removed temples in the monastery; erection of a wall northern part of the west wall. with rubber sponges; the edges of missing to protect the site; cleaning up of the complex parts of the wall paintings were consolidated to improve the environment; structural In 2004, the Swiss restorers carried out the first and cracks were filled with mortar (see reinforcement of the monks’ residences; and stage conservation of the White Temple’s wall below). In 2007, for the first time, a group repair of the roofs of the main temples. paintings. The aim was to study the paintings, of four young Chinese restorers from the to understand the technique of execution, the Conservation Institute of Dunhuang Academy The White Temple, the third main temple of typology and the reasons for deterioration, joined the project and worked on the treatment the Tholing Monastery, is about 555 metres in order to find a proper methodology for for the north wall for one month. square. It is dedicated to the Buddha known intervention and treatment. For this purpose, as The Healing Teacher of Lapis Lazuli the restorers collected samples from the The images shown here document Radiance (Bhaisajyaguru Vaiduryaprabhasa), walls for chemical analysis and study of the the restoration process: removal of rain water popularly known as the Medicine Buddha. materials used by the early painters (Pursche damage (seen as drip lines), and the uncovering The temple is in reasonably good condition & Kilchhofer 2004). of paint areas hidden underneath previous red

10 TAASA REVIEW VOLUME 17 NO.2 A restorer at work on wall paintings at the northern end of the

west wall of the White Temple, Tholing. Photo Rong Fan 2007 clay repairs. The restorers filled holes with mortar made from clay found at the site, and consolidated the wall paintings by retouching with high-quality water-based pigment. According to the treatment policy, all missing parts of the wall paintings which could be reconstructed were reconstructed, with the closest possible palette. The new colours were applied as tiny vertical lines (the so-called trattecchio technique), to differentiate clearly between the original wall paintings and the retouched sections (Kilchhofer 2007).

During this period, about 210 square metres of the wall paintings were successfully restored and stabilised. More restoration work will be necessary on paintings on the east wall, northern section of the west wall and the southern section of the east wall. The Baechi Foundation has organised for a group of seven Swiss, German and Italian restorers to take part in the 2008 season. The team will work from early June to the end of July 2008, Over 900 years, the ancient Guge kingdom Rong Fan accompanied the Isabel & Balz Baechi when it is anticipated they will complete the assimilated the finest aspects of Indian, Foundation conservation team to Tholing monastery conservation project of the White Temple. Nepalese and Central Asian cultures, and in 2007 as consultant and official project interpreter. Meanwhile, the Foundation plans a project developed its own unique local traditions. Formerly a researcher at the Dunhuang Academy to restore the Red Temple (Dukang Court) at While most of the history of the Tholing in Gansu, China, she is currently a PhD candidate Tholing. Monastery still remains a mystery, its main at the University of Adelaide. She would like to temples have survived. The precious wall thank James Bennett for his encouragement and Tholing monastery, like most other monasteries paintings and stupa ruins can tell us much guidance. in the Himalaya region, is in one of the most about this once-prosperous kingdom, the life remote and inaccessible parts of the Tibet. of local people and their religious beliefs and REFERENCES Kilchhofer, Matthia 2007: Report: wall painting restoring works, White There is often a lack of proper knowledge the important role Guge played in the history Temple, Tholing. Isabel & Balz Baechi Foundation, unpublished. and care for historical heritage among local of Tibet. Phuntsok, Namgyal, Ci, Duo and Zhang Jianling, in Phuntsok communities. Communication is difficult and Namgyal (ed) 2001: Ntho-Ling Monastery. Encyclopaedia of China much time has to be spent on administrative The conservation of Tholing monastery Publishing House, Beijing, issues to enable projects to proceed. The is still far from complete, however – and Pursche, Juergen 2002: General Survey of the Tholing Monastery. Foundation has put great effort into realising meanwhile, other historic sites of the ancient Isabel & Balz Baechi Foundation, unpublished. its goals and, most importantly, the restorers Guge kingdom also require urgent attention. Pursche, Juergen & Kilchhofer, Matthia 2004: The Master Plan for have worked very hard to conserve the wall the conservation of the Tholing Monastery. Isabel & Balz Baechi paintings in spite of harsh working and living Foundation, unpublished. conditions.

TAASA REVIEW VOLUME 17 NO.2 11 COLLECTOR’S CHOICE: A TIBETAN DRAGON CHEST

Todd Sandeman

Tibetan trunk (gam) with double dragon motif, Western Tibet, early 18th century. Painted cotton on wood,

mineral paints, gold, gesso, 127 x 60 x 47 cm. Collection Todd and Katrina Sunderman

y wife and I were already avid enthusiasts M of traditional Chinese furniture when our attraction to the stunning colours and artistry of antique Tibetan painted furniture began. Then, over time, we also learned to appreciate the deep spirituality and significance of the Tibetan pieces, together with the sheer skill and passion of Tibetan master-craftsmen.

Unlike traditional Chinese furniture, where the beauty rests in the quality of the design and finish, the beauty of antique Tibetan furniture lies in the images painted on it. The cut of the furniture itself is very basic, reflecting the tough and typically nomadic lifestyle of the Tibetan people. The artwork, however, is painstakingly applied to reflect the spiritual significance of the furniture and its important role as an item of decoration. It only royalty, aristocracy or the very wealthy 18th century dragon trunk from West Tibet, is this stark contrast of roughness and beauty could afford. Many of these pieces were originally made for a monastery. This trunk is that attracted us to the furniture. commissioned for donation to monasteries of the highest quality materials, artistry and to gain religious merit - the more expensive preservation, and is from the period often The highest quality pieces were painted with the materials and artistry, the greater the referred to as the ‘golden age’ of Tibetan paints ground from precious minerals, which religious merit that would accrue to the furniture, when the skills of the craftsmen donor. Monasteries would use trunks and were arguably at their peak. cabinets to store documents, ceremonial clothing and spiritual artefacts. Basic trunks Dragons are most familiarly associated and cabinets were used in the average Tibetan with the Chinese imperial court, but they home (often a tent) to store clothing and were just as important a symbol for other household items. Buddhist kingdoms – witness Bhutan, called by its people Druk Yul (Land of the Thunder The wood for the furniture was sourced locally Dragon). Dragons were the protectors of both in Tibet – typically Tibetan pine, fir or spruce. the kingdom and the Buddhist faith. More The core paint colours and the typical minerals personally, the dragon bestowed good luck used were red (cinnabar), blue (azurite), green on the beholder. (malachite), gold, yellow (orpiment), and orange (minium). Less expensive furniture On this trunk, two dragons face each other and was painted with vegetable pigments, but support a tray of precious offering gems. Each these fade over time. To add to the artistry dragon also holds a treasure gem, symbols further, three-dimensional lines or dots were of the fulfilment of wishes and desires, and sometimes added using a skilfully applied they also jointly hold a gem between them.

Diamond shaped dowry pendant with gesso mix, the core ingredients of which were The ascent of double dragons, or a group

granulation, 42 g/18ct gold, Rabari tribe, ground chalk and animal glue. of dragons, symbolises bravery, nobility

Gujarat, India, ca.1920, 10.5x7.4 cms. and power. Their elongated snouts are of The most common types of Tibetan furniture particular interest, as such representation was are: trunks (gam), which have traditional chest usually favoured earlier, around the time of lids; cabinets (chagam), which typically have China’s Yuan and Ming dynasties. multiple small doors that open outwards; tables (chogtse), including prayer tables; altars My wife and I feel very privileged to own 635 South Dowling St, cnr Parkham St (chosom); torgams (specialist altar cabinets); and a trunk of this quality. High quality antique Surry Hills NSW 2010 pegams (writing desks). The images found Tibetan furniture is becoming very scarce (Gallery entry in Parkham St) on the furniture include landscapes, deities, these days, with pieces rarely being placed on Telephone  9319 4300 religious symbols, animals, flowers, and the resale market and only a small number of www.buddhistart.com.au geometric, textile-like motifs. The range of dealers world-wide with true pieces. By appointment or by chance motifs and colours is truly stunning. Member, Australian Antique & ART Dealers Association Todd and Katrina Sunderman are collectors who live The piece I have chosen here is a classic in Singapore.

12 TAASA REVIEW VOLUME 17 NO.2 COLLECTOR’S CHOICE: A MONGOLIAN YAMA

Boris Kaspiev and Richard Price

o Western eyes, the wrathful imagery of right hand and a snare in his left, but both When the Russian communists took over T Tibetan Buddhism may be bizarre or even attributes are missing from this sculpture. Mongolia in 1917, religion was banned grotesque. Images such as this Yama challenge and religious items were confiscated and our perceptions of what is sacred, which is According to mythology, Yama was a destroyed. Treasures such as this Yama why this is one of the most treasured pieces in hermit meditating in a cave, about to reach survived because the Mongolian people hid our collection. While we acquired the image enlightenment. Two robbers entered the cave them away until they were free to worship for its fineness and extraordinary presence, it is with a stolen bull whose head they had cut off. again. only by delving into its meaning, iconography, When the robbers realised that Yama had seen history and purpose that we have appreciated them, they decided to kill him. Yama begged Boris Kaspiev and Richard Price are Melbourne- and understood it as a part of the living them to spare him, telling them he was close based collectors of Himalayan art. tradition of Buddhism rather than simply as to enlightenment. They refused, and cut off an object of art within our collection. his head. Yama then assumed a ferocious REFERENCES form, put on the head of the bull, killed the De Nebsky-Wojkowitz, R. 1956: Oracles and Demons of Tibet (1996 reprint). Book Faith, India. By 1700, Tibetan Buddhism had been robbers and, in his fury, threatened to destroy Linrothe, R. & Watt, J. 2004: Demonic Divine: Himalayan art and strongly established for the second time in the people of Tibet. The people appealed to beyond. Rubin Museum of Art, New York, and Serindia Publications, Mongolia. While Mongolian iconography Manjusri, the Bodhisattva of Wisdom, to save Chicago. remained essentially the same as that of Tibet, them and he sent Yamantaka, the destroyer of Lipton, B. & Ragnubs, N.D. 1996: Treasures of Tibetan Art: Mongolian artists developed a recognisable Yama. Yamantaka defeated Yama and turned Collections of the Jacques Marchais Museum of Tibetan Art. Oxford style. Bronze sculptures were characterised him into a protector of Tibetan Buddhism University Press. by the shape of their lotus bases, the smooth (Lipton & Ragnubs 1996:171). Rhie, M. & Thurmann, R. 1996: Wisdom and Compassion: The planes of the bodies, the style of the jewellery, sacred art of Tibet. Thames and Hudson. the predominance of colourful jewel inserts, Yama is the special protector of Tsongkapa, the shapes of scarves, and by a more gentle one of the greatest of Tibetan lamas. Yama is depiction of wrathful deities than in Tibetan also protector of the Gelugpa lineage of sculpture (Rhie & Thurmann 1996:68). That teachings, and of Vajrabhairava style can be seen here. practices. Vajrabhairava is an iconocraphically vastly Known in Mongolian as Erlig Qagan, Yama amplified and more threat- is one of the eight Dharmapalas or protecting ening form of Yama. These deities of Tibetan Buddhism. As judge of teachings require initiation the dead, he holds in front of the deceased’s to practice and are dangerous consciousness a mirror reflecting the sum for the uninitiated, and there- total of their good and bad deeds, on which fore require safety and mental they will be consigned to the realms of hell stability (Linrothe & Watt 2004:18). or heaven. Yama is the gatherer of people, Esoteric images such as this Yama and can travel both to the realms of the dead were not displayed to the uniniti- and the realms of the gods, which he once ated, but were held in special inhabited (De Nebesky-Wojkowitz 1996:68). rooms in monasteries called the Gonkang, or housed on Yama has three forms: the outer, inner and private family altars. secret. The form depicted in this bronze is the outer Yama, who confronts outer obstacles and The base and body of protects the faithful from droughts, bandits this bronze were cast and other misfortunes. Yama has the head separately. It has been of a bull and the body of a man, a distended gilded in two tones, belly, gaping mouth and erect penis. He has providing it with a third eye, and wears a necklace of severed richness and dynamic heads. He stands on a bull which is ravishing contrast. The semipre- a dying women, signifying the overcoming cious stones with which of obstacles and ignorant life. His crown is of it was embellished are now five skulls, reflecting his presence in the past, missing. The image is con- while his flame-like hair signifies his strength secrated, with one conse- and power. On his chest is the Wheel of the cration cavity between Law, which shows his authority in Buddhist Yama’s legs reveal- teachings. Yama stands in the archer’s pose ing a wad of tightly with his body tilting to the left: normally wrapped scrolls. The such a figure would clutch a skull club in his base is sealed.

Dharmapala Yama, Mongolia, 18th-19th century. Two-tone gilt bronze, sealed,

with intact consecration scrolls, ht. 20.5cm. Collection boris kaspiev and richard price

TAASA REVIEW VOLUME 17 NO.2 13 TRAVELLER’S CHOICE: POLISH ART DECO IN INDIA

Maria Wronska-Friend

ast year, when conducting a survey of of the Second World War. Recognised as one I was granted special permission from the L printed textiles in Gujarat and Rajasthan, of the most successful artists of the interwar current owner of the Palace, Maharaja Gaj I decided to visit the Umaid Bhawan Palace in period, he was an exponent of the 1920- Singh II. The focal point of the Maharaja Jodhpur. I was attracted here by the fame of 30s artistic trend known as Art Deco, and Suite is bold, expressive paintings on canvas its unusual interiors, recognised as the most was especially well known as an illustrator, showing hunting scenes with leopards, tigers interesting example of Indian Art Deco and portraitist, fashion and stage designer. and cheetah. The Maharani Suite is reminiscent executed by my compatriot, Polish painter of the Hollywood style of the 1930s. Black and interior designer Stefan Norblin. Following his escape from Poland, in 1941 lacquered furniture has been padded with Norblin landed in Bombay, where he received pink velvet and the same range of colors has Umaid Bhawan Palace, situated on a high commissions for portraits as well as for been repeated in the sumptuous bathroom, hill overlooking the city of Jodhpur, was to decoration of palaces from Indian maharajas. with its bathtub made from a single slab of be one the last great palaces built in India. Bombay gave him the opportunity to study pink Italian marble set against black marble Designed in 1923 by British architect Henry V. Indian mythology and iconography, and also walls. Above the bed a large painting on glass Lanchester, it was constructed over 15 years to become acquainted with the works of depicts the goddess Durga riding a tiger, (1929-1944) in a style which blends Rajput contemporary Indian artists of the Bengali which bears an unmistakable similarity to and European architectural traditions. With and Bombay schools. His success with Indian the composition of a scandalous painting by a façade 210 metres long, 347 rooms and a maharajas was so great that in 1944 he was Polish artist Podkowiński, known as Trance. central dome which rivals St Paul’s Cathedral, trusted with his largest commission ever: to All the furniture designed by Norblin has it is one of the largest residences in the world. design the interiors of the Jodhpur palace and been executed with perfection and astonishing The interior decoration of the building had to execute a series of murals. congruity by Jodhpur craftsmen, for whom match its impressive architecture: Maharaja the faithful reproduction of Western Art-Deco Umaid Singh, the founder of the palace and Today, visitors to Umaid Bhawan may see the style created, no doubt, a major challenge. the grandfather of the present Maharaja of Throne Room (part of the Palace Museum) Jodhpur, decided on a style that would reflect decorated with six large murals by Norblin The current Maharaja is well aware of the contemporary international art trends, rather representing scenes from the Mahabharata significance of these unique Indian Art Deco than recreating the Indian past. and Ramayana, with Indian gods and heroes suites. They are kept in pristine condition and rendered in Art Deco style. Closer inspection no changes have been introduced since their The most important rooms were to have reveals, however, that some of the details, completion by Norblin. Today they are no featured stylish furniture designed by Maples such as armory and the flying chariots, have longer used by the family, which has moved of London. However, when in 1943 the ship been taken from non-Indian iconographical to more modern apartments in the side wing carrying this cargo was sunk by a German sources such as ancient Greece or the European of the palace. However, they are occasionally submarine, the Maharaja gave the task of Middle Ages. used by special guests, like Prince Charles decorating the palace’s major rooms to Stefan and the Duchess of Cornwall during their Norblin (1892-1952), a refugee artist from The highlight of Norblin’s work at Jodhpur is official tour of India, or by celebrities like Liz Poland. Norblin fled Warsaw in 1939, when the the apartments of the Maharaja and his family. Hurley, who staged her wedding here. Nazi invasion of Poland marked the outbreak They are closed to the public and to see them As regards the artist, in 1946 he migrated to the USA where he received several commissions, but none of them matched the scope and challenge presented by the Umaid Bhawan Palace. Depressed and disillusioned, in 1952 Norblin committed suicide. The Palace in Jodhpur is the main testimony to the skills of this artist, who here successfully combined two very distant traditions and who used the title ‘Artistic Advisor and Court Painter of His Highness the Maharaja of Jodhpur’.

Maria Wronska-Friend is an anthropologist specialising in the art and material culture of Southeast Asia and Melanesia.

REFERENCES Simons, C.U. & J.K. Bautze 1996: Art Deco for the Maharajas: Stefan Norblin in India. Polish Cultural Institute, Indian Cultural Centre, Berlin.

Bathroom of the Maharani at Umaid Bhawan Palace, Jodhpur, India, 1940s, designed by Stefan Norblin. Photo by the author

14 TAASA REVIEW VOLUME 17 NO.2 NEW SOUTH ASIAN GALLERY IN TORONTO

Ushnishavijaya, Tibet, 18th century. Gilt copper

Haema Sivanesan alloy with pigment, inlaid with semi-precious stones,

ht 41.2 cm. The George Crofts Collection, 1918,

Royal Ontario Museum, Canada

anada’s first gallery of South Asian India - in Orissa, Madhya Pradesh, Uttar C culture, the Sir Christopher Ondaatje Pradesh and Tamil Nadu. The art historian South Asian Gallery, opened at the Royal Padma Kaimal has written extensively on Ontario Museum (ROM) in Toronto earlier the esoteric purpose of yogini images. In this year (February 2008). Named in honour an article published in Rotunda (Fall 2003) of the distinguished financier and publisher she suggests that the ROM’s yogini would Sir Christopher Ondaatje, the South Asian have been one of a group of 42 or 64 or even gallery consists of nine thematically organised 81 yogini images, of which it appears that ‘clusters’ showcasing the wide range of the only 11 survive, dispersed among museum ROM’s collection. On display is a diverse collections in Europe and North America. selection of sculptures, paintings, textiles Acquired in 1956, and with an interesting and decorative arts spanning the length and provenance history, this yogini is a significant breadth of the region. piece in the ROM’s collection.

Highlights include a monumental Head of A personal favourite in the ROM’s collection a Bodhisattva, a centrepiece of the ROM’s is a sublime 18th century gilt bronze image Gandharan collection, acquired in 1939 by of the Tibetan goddess Ushnishavijaya, the Dr Charles Trick Currelly, an enterprising goddess of long life, victorious over death. archaeologist and a ‘founding father’ of This eight-armed goddess holds a double the museum. Rare in terms of its size, this vajra in front of her body, signifying her associated with longevity and the fulfilment stucco is a beautifully preserved example mastery over the elements. Although (like of earthly desires. of late Gandharan sculpture. The complete the later bronze discussed on p.13 this issue) figure would have stood some six metres tall the ROM’s bronze no longer possesses all The museum’s inaugural curator of South and most likely originated from the ancient her original attributes, this deity would have Asian culture, Deepali Dewan, appointed in cities of Hadda or Taxila on the trade route once held an image of Amitabha in her upper 2002, has particular expertise in the visual between Europe and South Asia. The head right hand; a bow and arrow symbolising her culture of 19th century South Asia. Dewan has shows all the characteristics of the Gandharan powers of compassion and wisdom in her a specific interest in colonial photography and style, with its finely modelled face bearing middle hands; a noose in her centre left hand; the ROM has therefore recently developed one naturalistic features: a delicate head of curls, and a vase containing the elixir of immortality of the largest collections in North America. heavy-lidded eyes, aqualine nose, full lips in her lower left hand. Her lower right hand is It includes albums of photographs by the and a serene expression. in varada mudra, the gift-bestowing gesture, pioneer of Indian photography Raja Lala while her upper left hand is in abhaya mudra, Deen Dayal (1844-1905), and traces major Another arresting sculpture is a 10th century the gesture of reassurance. The three faces developments in early Indian photography granite yogini from the Kanchipuram region of the ROM’s Ushnishavijaya are exquisitely from the documentation of landscape and of Tamil Nadu. In Hindu iconography, the rendered, her front face presenting a peaceful, architecture to studio portraiture. Dewan has yogini is an esoteric female deity with a beatific expression. The bronze bears traces recently also acquired notable examples of prominent role in Tantric forms of practice. of the vivid blue pigment used to colour the Company School painting as well as some Yoginis are regarded as powerful deities hair of these Tibetan deities and remnants of beautiful Anglo-Indian silver which combines encompassing the forces of both creation the original coral and turquoise jewel inlay European forms with motifs of Hindu gods and destruction, beauty and danger. There also remain. Along with Amitayus and White and goddesses. are nine known sites of yogini temples in Tara, Ushnishavijaya forms a triad of deities During the years leading up to the opening of the new gallery, the ROM’s South Asian collection has nearly doubled, and now comprises some 2300 objects. Dewan is also expanding the scope of the collection with a burgeoning collection of contemporary art. Recent acquisitions include Pushpamala N’s photographic tableaux The Navarasa Suite (2000), Navjot Altaf’s monumental sculpture of a female figure Untitled (2002), and Shazia Sikander’s digital animation Dissonance to Detour (2005).

Haema Sivanesan is a curator and Executive Director of SAVAC (South Asian Visual Arts Centre) in Toronto, Canada.

The newly-opened Sir Christopher Ondaatje South Asian Gallery at the Royal Ontario Museum, Toronto, Canada

TAASA REVIEW VOLUME 17 NO.2 15 RAFFLES AND PRAMBANAN

Philip Courtenay The Large Temple at Prambanan, drawing by H. C. Cornelius. The scene has been somewhat romanticised with figures in the foreground, an elegant representation of natural vegetation, and a smoking Mt Merapi

in the background. From The History of Java (first published 1917) by Stamford Raffles

n May 2006, the historic central Javanese I Hindu temple complex of Prambanan was brought to world attention by the 6.3 magnitude earthquake which struck the district around the city of Yogyakarta on the 27th of the month. Located on the outskirts of Yogyakarta, Prambanan suffered substantial damage due to its closeness to the main earthquake area whose hypocentre was about 37 km south of the city and 33 km below the Indian Ocean seabed. Approximately 40 km northwest of Yogyakarta, Borobudur, an equally ancient Buddhist monument, survived completely intact.

The colossal structure at Prambanan, one of the largest Hindu temples in Southeast Asia, was built most probably between 900 and 930 CE and inscribed on the World Heritage list in 1991. The Borobudur complex, inscribed on the World Heritage list also in 1991, was probably built in the ninth century CE. As a consequence of their geographic locations, both monuments have suffered substantial damage both from earthquakes and volcanic president of the Royal Zoological Society. plates were advertised as being prepared for eruptions during the millennium of their In a critique of the British Museum’s 1999 publication with the first edition of The History existence and remained abandoned and exhibition of its Raffles Collection, entitled The in 1817, they did not appear until the production overgrown for much of that time -- no major Golden Sword , reviewer John Henshall quoted of the second edition in 1830, six years after efforts at reconstruction were made until the the opinion of Nigel Barley, the exhibition’s Raffles’s death (ForgeBastin 1988: vii). 20th century. The two now receive a million curator, that one of Raffles’s problems was visitors per annum. that he was interested in far too many things In the second volume of The History of Java, 58 at once -- especially people, natural history pages are devoted to antiquities. In the words Like many of the great architectural and the arts in all their forms (Henshall 1999). of Charles Wurtzburg, a major biographer of achievements of the non-European world, Raffles, ‘he was in advance of his time in his including for example Angkor in Cambodia During his governorship of Java, Raffles respect for the integrity of ancient monuments and the Great Zimbabwe Ruins of southern instituted a number of administrative and and in his artistic appreciation of them in their Africa, Prambanan and Borobudur remained commercial reforms; but as a scholar, his time natural surroundings’ (Wurtzburg 1984: 369). practically unknown beyond their local on the island is most notable for the research regions until the 19th century. In the case of that led to his two-volume The History of Given their size and complexity, it is not the Javanese structures, it was the interest and Java. This major scientific work published in surprising that, with his interest in the island’s work of Sir Thomas Stamford Raffles (1781- 1817, was dedicated to the Prince Regent and antiquities, Raffles was particularly captivated 1826) that first brought them to the attention contributed to the award of his knighthood. by the striking ruins of the great central Javanese of the western world. structures of Prambanan and Borobudur Inspired by the pattern of William Marsden’s (which he recorded as Brambánan and Bóro The principal claim to fame of Raffles is as a History of Sumatra (1783), of which the third Bódo). He wrote: ‘In addition to their claims on colonial administrator, most notably during edition appeared in 1811, the work is a general the consideration of the antiquarian, the ruins his period as Lieutenant-Governor of Java compendium of information about Java - at...Brambánan and Bóro Bódo are admirable (1811-16) and, particularly, as the founder - geographical, economic, ethnic, linguistic, as majestic works of art. The great extent of of modern Singapore in 1819. However, like cultural and historical. Nearly 100 illustrations the masses of building in some parts with the a number of British imperial pro-consuls in were prepared to accompany the text. These luxuriant vegetation of the climate, the beauty Africa and elsewhere in Asia, Raffles took a included aquatints of individual Javans and delicate execution of the separate portions, deep interest in the environmental, historical, set in stylised landscapes, line drawings of the symmetry and regularity of the whole, the social and cultural milieux of the regions implements of husbandry, tools, weapons, great number and interesting character of the where he served, and published many of wayang puppets and musical instruments, statues and bas-reliefs, with which they are his findings. An explorer, mapmaker and facsimiles of inscriptions, detailed depictions ornamented, excite our wonder that they were collector, following his return to London from of temples, statuary and other sculpture, not earlier examined, sketched and described’ Southeast Asia he was a founder and first and ground plans. However, although the (Raffles 1817: v. II, 6).

16 TAASA REVIEW VOLUME 17 NO.2 Main temple complex at Prambanan, Central Java, Indonesia, 10th century. Scaffolding on right indicates

repair work subsequent to the damaging earthquake of May 2006. Photo Emma Vickers, November 2007

Javanese assistants are to be seen perched on ruined temples: they were omitted from the published versions, however! Forge (1994: 115) describes the drawings as accurate, full of detail, with clear hard lines suitable for the contemporary methods of reproduction. They are essentially technical drawings with few pretensions to be works of art; though some of the ruined monuments are drawn and reproduced with evidence that contemporary taste for the picturesque influenced even army officers and Dutch colonial officials.

Raffles’s interest and initiative have certainly provided an early record of the remains of the antecedent civilisations of Java, some as picturesque ruins with suitable romantic foliage, but also in reconstruction as solid works of a major civilisation (Forge 1994: 150). Although he visited Borobudur on more than Ideally, Raffles would have travelled with one occasion, including a personal visit in an academically-trained artist or a Javanese Philip Courtenay is an economic geographer 1815 following the death of first wife Olivia capable of producing Western-style depictions and ethnographer with a long-standing in November 1814, barely two pages of the of Java to be used in The History of Java. association with Southeast Asia. Before History are devoted to that complex, which However, while in Java he had no specialist retirement he was professor and rector of the Raffles seemingly failed to appreciate as a artists attached to his staff and instead used Cairns campus of James Cook University, and Buddhist and not a Hindu structure, and engineers who had backgrounds as technical now lives in Brisbane. most space is given to Prambanan. draughtsmen (Mault 2005: 52). In particular, Captain G. P. Baker of the Bengal Light Infantry, REFERENCES Raffles reported that, in 1797, a Dutch whose military duties included making Barley, N. (ed) 1999: The Golden Sword: engineer constructing a fort in the vicinity of plans and maps of the Yogyakarta kraton or Stamford Raffles and the East. British Museum the Prambanan complex had great difficulty palace and repairing the roads for the British Press. in clearing away rubbish and plants in order artillery, did much drawing. From among Bastin, J. 1988: preface to Plates to Raffles’s to obtain a view of the ruins and sketch them. the Dutch, Raffles recruited H. C. Cornelius, History of Java. Oxford in Asia, Kuala An accurate survey of the ruins, with sketches a Civil Surveyor and Superintendent of Lumpur. of fragments of buildings, architectural Buildings at Semarang, who led a team of Forge, A. 1994: ‘Raffles and Daniell: making ornaments and statues was effected in 1812 similarly qualified Dutch in making drawings, the image fit’, in Andrew Gerstle and Anthony by Colonel Colin Mackenzie (later Surveyor- especially of newly cleared antiquities. Milner (eds), Recovering the Orient: artists, General of India) and, with his permission, scholars, appropriations. Harwood Academic published by Raffles in the seventh volume Anthony Forge (Forge 1994: 111) has pointed Publishers GmbH, Chur, Switzerland. of the Transactions of the Batavia Society -- a out that, in the 18th century, skills in drawing Henshall, J. 1999: ‘Go east, young man’ in learned society founded in 1778 but moribund and art generally were stratified in terms of The New Statesman, 12 February 1999. till its revival by Raffles in 1812. training, subject matter and gender, as well as class and even race. Basically craftsmen and Mault, N. 2005: Java as a Western Construct: Considering a more extensive and detailed professionals, such as engineers, could draw an Examination of Sir Thomas Stamford Raffles’ survey a matter of importance, and constrained inanimate objects, buildings, machines etc; The History of Java., MA thesis, Louisiana State by other duties from undertaking any while some training in art was required to University. substantial investigations of the monuments draw landscapes and paint in watercolours. Raffles, Thomas Stamford 1817: The History himself, Raffles dispatched another officer There has been criticism of some of the images of Java. Originally printed for Black, Parbury to ’survey, measure, and take draughts of all in The History, notably some of the figures and Allen, Booksellers to the Hon. East- the buildings, images, and inscriptions which of Javans. Based on drawings and models India Company, Leadenhall Street, and John this magnificent mass of ruins presented’ brought back by Raffles, these were prepared Murray, London. Complete text, with plates (Raffles 1817: v.II, 7). Apart from damage in England by the engraver of coloured in a separate vol., published as an Oxford caused by earthquakes and the incursions aquatints William Daniell, and criticised in Asia Hardback Reprints series 1988 (2nd of natural vegetation, much of the original on the grounds that he ‘Europeanised’ his impression 1994). stonework at Prambanan had been quarried presentation (Mault 2005: 62). Wurtzburg, C.E. 1984: Raffles of the Eastern for building elsewhere and, shortly before the Isles. Oxford University Press, Singapore (first time of Raffles, one Nicholaus Engelhardt, The ‘architectural’ line drawings are less likely published Hodder and Stoughton 1954). a former governor of Semarang, had earned to have been similarly modified, though in one some notoriety for the barbarous way in or two of the original drawings of monuments which items had been hacked from shrines taken to England by Raffles, for example and taken to adorn his garden (Wurtzburg Cornelius’s Large Temple at Brambanan, Dutch 1984: 369). surveyors (in very striking top hats) and their

TAASA REVIEW VOLUME 17 NO.2 17 DJUWADI: FOLDING THE RELATIONAL INTO ART

Opening parade at the Festival Mata Air (Festival of

Water), held in the village of Kalitaman, Central Java, Alexandra Crosby 2007. Participants wear elaborate costumes created from

recycled ‘rubbish’ with the assistance of artist Djuwadi

n a quiet Sunday evening in February, Video Festival. Like a warung lesehan, which O a group of artists transformed a small is usually assembled around meal-times and corner of Newtown into a night market, afterwards dismantled leaving barely a trace a place of nongkrong or ‘hanging out’, of the evening’s activities, artists’ festivals are where experiences were bartered and ideas temporary in their realisation but can be long- exchanged. Perth artist Sussi Porsborg invited lasting in their effect. the public to assemble ‘portable cenotaphs’, small handmade corsages constructed from The climate of greater political and discarded military fabric. Sydney artist Teik social freedom in Indonesia over the last Kim Pok set up a karaoke massage parlor decade has prompted the formation of a and sang a capella to his clients. And a small number of collectives, including Taring group of collaborators from Indonesia and Padi, anakseribupulau and Tanam Untuk Australia, brought together in Sydney for the Kehidupan. These groups use art to raise three-month Gang Festival, gathered around awareness of, for example, environmental the Indonesian concept of a warung lesehan, a crises both specific (forest depletion and traditional makeshift café or roadside diner. mudslides) and general (looming nuclear power proliferation), and to encourage The idea of Gang (literally translated as community-led change. Some artists are alleyway) is to explore creativity that emerges simultaneously active in a number of these outside conventional art spaces in both collectives. varied, project-based, and has the aim to Indonesia and Australia. In 2008, this meant educate around issues of environment. looking to some of the many small artist-run One artist whose work pops up repeatedly Djuwadi comes from the small village of festivals in Java that are designed as sites in artist-run festivals across Indonesia is Randublatung on the border between Central for a very local style of artistic exchange. Djuwadi. Djuwadi has no formal art training: and East Java. Many of the young men around Among these are Festival Mata Air (Festival he describes himself as a woodworker, a Randublatung have learned carving through of Water), Forest Art Festival and the OK performer and an organiser. His work is informal apprenticeships in their adolescence and now turn their skills to express concerns about exploitation of the teak forests.

Ambil aja (2006) is an ongoing work made from pieces of wood that Djuwadi whittles into delicate shapes. The title means ‘Just take it’, referring to the gift nature of the work. Djuwadi carries the pieces around with him, either offering them to people he meets or leaving them to be picked up by fortunate passers-by. As is always the case with gifts, there are more layers to the exchange. Referring also to attitudes to the forests around his home, Ambil aja also illustrates the mismanagement of the forests in Java. The demand for teak means that the forests are viewed purely as a cash crop, and are felled whether the trees have matured or not. The public euphoria coupled with the vacuum of authority that followed the fall of Suharto in 1998, Djuwadi explains, meant that much of the forest was depleted at a frightening new rate, which continues today.

‘The wood that I use for my carving is usually left over from the export furniture industry. There are a lot of little pieces that can’t be used so they have no value. I can use it for my work to express ideas about the material itself, and the stories of the tree it came from, which was once part of a forest. My anger Stages of creation of a Melati Sampah corsage by Djuwadi, Indonesia, 2007.

Folded plastic, safety pins, ongoing exchange, multiple designs, 10.00 cm x 10.00 cm

18 TAASA REVIEW VOLUME 17 NO.2 Children in elaborate costumes made from ‘devalued materials’ at the second Festival Mata Air, Central Java, 2007 drives me to work with the wood and think about my emotional connection to place. When I give it to someone, or they just take it, something else happens, another whole process with new meanings for them. Perhaps they feel lucky. Perhaps they feel guilty. I hope they can think about where that wood came from.’

Djuwadi’s work Melati Sampah (Trash Jasmine, 2007)) works on a similar principle of revaluing the devalued, and extending the gift economies of activist networks into the art world. The work was conceived during the opening parade of the second Festival Mata Air (Festival of Water) in the village of Kalitaman in Central Java in 2007. Djuwadi spent a month during preproduction of the festival living in a tent on the grounds of a local political party headquarters, washing in the public baths and eating with the local tukan ojek (motorbike taxi drivers). This self- initiated residency was an opportunity to get to know the place and people of the kampung audience relationships characteristic of every For Djuwadi, and other Indonesian artists (neighbourhood community). day life (Bourriaud 2002:5). Melati Sampah working from collectives placed neither asks people to reconsider their original action within the international art circuit nor the During the lead up to the festival, Djuwadi of disposal. ‘This is just something I did,’ international market, ‘relational art’ has been a also worked with children to make elaborate Djuwadi says. ‘I wanted to use something tactic of resistance rather than a consideration costumes and musical instruments from people had discarded and make something of contemporary aesthetics. Without a rubbish. On the day of the opening, after beautiful.’ national art infrastructure, collaborating with helping the children prepare, he joined the communities -- often on a village level in rural parade in civilian clothing, collecting rubbish The diverse experiences of Indonesia’s violent areas -- has also sometimes been the only way along the way and pinning it to his garments history make grand narratives in art or any to engage any audience or sustain any kind of with safety pins until he was entirely covered other field impossible to justify. Indonesian ongoing practice. with instant noodle packets, cigarette boxes artist and critic Jim Supangkat, among other and permen (sweet hard candy) wrappers. critics, has written extensively about the The translation of a work such as this to an Over the six days of the festival, Djuwadi concept of ‘multimodernism’ to describe Australian context is, not unsurprisingly, fairly developed the idea, folding the rubbish into the ways in which Indonesian art both straightforward. The work Melati Sampah was beautiful flowers and pinning them not adopted and resisted Western art forms and reproduced, not only from the warung lesehan only to himself but to people he met in the philosophies. He rejects, for example, claims at the night market in Newtown, but also street, carefully choosing colors and patterns that installation art in Indonesia is a post- at the Live and Let DIY Festival in Brisbane appropriate to people’s outfits -- matching, for modern paradigm. Supangkat writes that in February 2008, and in Melbourne as part example, the glossy browns of a nescafé label the term ‘installation’ was only introduced of artist talks at Forepaw, also in February to the warm natural tones of a traditional to Indonesia in 1991 (Supangkat 1997:10). He 2008. Djuwadi also traveled to Imanpa Arts, batik shirt. argues that Indonesian cultures have, well outside Alice Springs, as part of skill-sharing before this date, used the placement of objects workshops. During his three-month exchange In the West, this type of practice is in a certain context in order to convey certain in Australia, Djuwadi folded hundreds of associated with contemporary trends in feelings, ideas or experiences as a medium of brooches, from both the ‘exotic’ rubbish he artistic production, namely ‘relational art’, artistic expression. In the same way, art that had brought with him from Java and from a phrase coined by the French theorist is based on relationships between artists and new packaging he collected locally. Nicolas Bourriaud. Melati Sampah can be audiences (whether or not it is classified as viewed as a visual conversation typical of art) has developed in Indonesia from non- A corsage by Djuwadi is an act of folding the ‘intersubjective’ encounters produced in Western traditions the superficiality and ephemerality of the relational art. It is through this conversation cultural objects of contemporary capitalism in that meaning is generated collectively, greatly In his book One Place After Another, Kwon on themselves. It does not depend on certain expanding the original space intended for similarly points out that the idea of a ideas for understanding: it can simply be worn. the object, that of consumption and disposal. ‘relational aesthetic’ represents ‘neither a The toughness of a vagabond sorting through According to Bourriaud, artists such as new movement in the field nor a newly rubbish in the street is delicately expressed. Djuwadi can play a role in resisting the politicised aesthetic sensibility, but rather a Through his work, Djuwadi takes the idea of commodification of everyday experience and moment of arrival in which a well-developed global standardisation and uniformity and relationships. This role is about reframing mode of practice that had been undervalued twists it, creating only varied pieces that then interactions so that communication occurs in mainstream art finally receives cultural assume the character of the individual wearer. beyond the product-consumer and artist- acceptance’ (Kwon 2002:107). The material is devalued then revalued, it is

TAASA REVIEW VOLUME 17 NO.2 19 Examples of Ambil aja, various pieces of wood whittled by Indonesian artist Djuwadi (2006, ongoing project)

an Indonesian artist working in Australia, these points are the only places capable of housing new meanings. The exchanges themselves, like the festivals from which they emerge, disrupt the normal cycle of consumption and waste with a small side-step of individual expression. This cycle indeed has no set origin or outcome, but Djuwadi asks us to revisit a process we take for granted. The object itself simply makes concrete something precarious, an exchange between people; and makes permanent something inherently temporary, a performative gesture.

Alexandra Crosby is a designer, writer and lost then made to belong; and it becomes an socialised across cultures, making connections researcher who is currently completing a doctoral active agent of communication, its meaning between people from vastly different places. degree at the University of Technology Sydney. negotiated between artist and audience. And it is this that Djuwadi does so simply She also co-directs the Gang Festival (http:www. and elegantly. He makes a flirtatious offering, gangfestival.com). Research for this article was Melati Sampah is spawned from a culture of which, among other interpretations, could supported under Australian Research Council’s consumerism that is, tragically, absolutely be a gesture of good will or an accusation of Discovery funding scheme. global. Its materials are the refuse from guilt, but is quite unambiguously a meeting of products made in factories and sold all bodies through an ironic object that articulates REFERENCES over the world to fulfill universally-created a commonality and a connectedness. Bourriaud, N. 2002: Relational Aesthetics (trans. Simon Pleasance & Fronza Woods with the participation of Mathieu Copeland). Les desires. Along with the replacement of fresh, presses du reel, France. self-sufficient food production by centralised The important point about Melati Sampah and Kwon, M. 2002: One Place After Another: Site-Specific Art and and highly refined products, packaging is Ambil Aja is not that it is a cute ‘eco-chic’ idea, Locational Identity. MIT Press, Cambridge, Mass. a ubiquitous language. So, as well as the but that it starts something. The exchange Supangkat, J. 1997: Indonesian Modern Art and Beyond. Indonesia imagin-ative transformation that occurs via generates a new set of insights at the points of Fine Arts Foundation, Jakarta. the artist, the work has the potential to be intersection between artist and audience. For

BURMA: LAND OF BACKROADS THE BUDDHAS OF BURMA In conjunction with In conjunction with Australian Museum Members Australian Museum Members 24 October – 12 November 2008 14 November – 02 December 2008 TAASA contributor Dr Bob Hudson is one of a small Backroads of Burma has been designed by our program number of international researchers conducting regular leader and Sydney University archaeologist Dr Bob excavations in Burma. An experienced leader of cultural Hudson for travellers who have previously visited tours, Bob is looking forward to sharing his enthusiasm Burma or first time visitors seeking a different and and knowledge of Burma with TAASA members. interesting experience. The focus is on remote, bucolic Our highly evaluated comprehensive itinerary differs and diverse parts of the country. Starting and finishing from conventional tours and includes a section in the in Yangon, our schedule begins with two unusual remote lost ancient kingdom of Arakan (now Rakhine and intriguing locations: Mrauk U, capital of medieval State) as well as a memorable train journey across Arakan, reached by a rustic riverboat trip from Sittwe the dramatic Gokteik viaduct to up the mighty Kaladan River; and Sri Ksetra, the ancient Pyin U Lwin, the quaint former British hill station of Pyu capital with its distinctive conical Buddhist stupas. Maymo. Experiences in Yangon, Inle Lake, Mandalay Mystical Mount Popa, the Mount Olympus of Burma and a cruise on the Ayeyarwady to Bagan are also and home to its most powerful nats follows; from included. Even today, Burma contains areas with here we proceed north along the river plain H ERITAGE D ESTINATIONS minimal concessions to modern living, offering of the Ayeyarwady to Bagan, the most important NATURE • BUILDINGS • PEOPLE • TRAVELLERS travellers interesting glimpses of traditional life temple site in Southeast Asia. Suite 102, 379 Pitt Street once widespread in Southeast Asia. Price per person twin share including airfare $4800 Sydney NSW 2000 Australia Price per person twin share including airfare $5150 PO Box K1042 Haymarket NSW 1240 Australia Phone: +61 2 9267 0129 Fax: +61 2 9267 2899 For a brochure or further information phone Ray Boniface at Heritage Destinations ABN 93 086 748 834 LIC NO 2TA004916 on (02) 9267 0129 or email [email protected]

20 TAASA REVIEW VOLUME 17 NO.2 EXHIBITION: MULTIPLE LIVES, PARALLEL TRADITIONS

Devleena Ghosh Marriage procession, India (Madras (now Chennai), Tamil Nadu), c 1820. Opaque watercolour

on paper, 25 x 50 cm, Portvale Collection. Shown in the recent exhibition Intimate Encounters

Intimate Encounters: Indian Painting from Australian Collections Art Gallery of NSW, 22 February-4 May 2008

The fascinating exhibition Intimate Encounters: Indian Painting from Australian Collections (Art Gallery of NSW, 22 February-4 May 2008) delineated the trajectory of Indian miniature painting through the last 500 years. A legacy of the creative hybridity that is a distinctive element of Indian culture, these 77 paintings, sourced from the Gallery’s own Asian holding and from public and private collections in Australia, represented some major trends in Indian art from pre-Mughal to the Company period. exhibition attested, the miniature artist was The story of the miniature’s most recent The Indian miniature is derived from the conversant with multiple points of view, revivification in both India and Pakistan illustrated religious book and the epithet conveying plural perspectives on various is a particular political and cultural story most often applied to the genre is ‘jewel- focal points, showing layers of reality that of immense interest in its own right. The like’; Indian miniatures (the majority of the may be hidden from one vantage point new miniaturist movement that originated paintings in this exhibition) are intricate, only. The exhibition ends with Company in Lahore in the 1980s – specifically at the detailed and lively illuminations, with delicate paintings, works produced by indigenous National College of Art – insists on miniature brushwork and exuberant colours, created for artists, but in a European style and palette, painting’s relevance and viability for private delectation rather than display on using watercolours, linear perspective and contemporary artists. Some artists of this walls. They deal with innumerable themes shading, depicting local occupations, customs, school, such as Shahzia Sikander (ref. TAASA with a lyrical quality that is unique. flora and fauna for their colonial clients. All Review 17/1, March 2008), have used miniature the items display the range of artistic and painting as a basis for a feminist conversation The exhibition began with the religious philosophical variety that is consistent with with tradition and extended this dialogue by paintings of Jainism and Hinduism of the the broad scope of Indian traditions. deploying modern techniques and themes. pre-Mughal period, with their limited palette, For female practitioners, the small scale of the flat pictorial space and saturated colours. The underlying sub-text of the exhibition is one painting is conducive to multi-tasking; artistic These were holy objects meant for prayer and of multiple, parallel and alternative traditions endeavour could happen in the home or the meditation but they show in their lineaments that, by and large, lived in compatibility kitchen as well as the studio. and hues the style that the Muslim rulers of the with each other. The easy adaptability of Sultanate period patronised - the combining the miniature into regional Deccani, Rajput This wonderful exhibition attests to the of Indian and Persian artistic traditions. This and Pahari traditions, to mention only a versatility and scope of miniature painting; an joyous adaptation, borrowing and mixing is few, shows the protean nature of this artistic ease with modernity that transcends its place manifested in the paintings created under form. Yet each of these regional traditions of origin. The miniature may use globally both Mughal and regional Rajput or Deccani is distinct in style, showing that cultural sourced materials and techniques to express patronage. There are strong biographical intermingling can result in unexpected new local themes, realities and experiences. It portraits as well as exuberant depictions of forms and genres that are often more than acknowledges tradition and custom at the the human and animal world with a loving the sum of their component influences. The same time as moving beyond them. And attention to detail. The simultaneous use themes offer some insights into the desires finally, in its glorious, unashamed articulation of Islamic motifs with Hindu and Jain and preoccupations of mostly wealthy elites, of different traditions, cultures and techniques, ones testifies to an artistic practice that is but also point to wider productive and social it speaks to the deep histories of movement unashamedly eclectic, curious and open processes of labour at the generative core and migrancy, roots and routes, all those to various influences. For example, Cyrus of meaning-making in this artistic tradition, connections, conversations and networks that administering justice combines the stylised extending the materialist trajectory of what make up the very stuff of human history. natural representation of clouds and flames people do in domestic and public space. derived from Persian miniatures with the bold These intimate experiences of broad social Devleena Ghosh teaches in the Social Inquiry colours and lively figures so characteristic of and economic practices contain much of the program in the Faculty of Humanities and Social Indian drawing. most compelling and memorable moments Sciences at the University of Technology, Sydney. of social life and their affect generates much There is a school of thought that the absence of the immediate meaning and connection in of European perspective renders early Indian the miniatures. miniatures naive or primitive. But, as this

TAASA REVIEW VOLUME 17 NO.2 21 REPORT: FUNDING DEVELOPMENTS, ASIAN ARTS

New Asian Art Acquisition Fund Fund continues the tradition of Melbourne Activities at VisAsia National Gallery of Victoria, Melbourne philanthropy. Important Asian historical and Art Gallery of New South Wales contemporary works which have recently Following on from the launch of the Supporters of entered the NGV collections include: an 18th Since the establishment in 2002 of VisAsia (the Asian Art in 2007, the National Gallery of Victoria century Korean porcelain dragon jar with a lively Australian Institute of Asian Culture and Visual earlier this year (February 2008) announced the dragon painted in underglaze blue, purchased Arts Ltd), interest and support for Asian art at establishment of the Asian Art Acquisition Fund, with assistance from the Supporters of Asian Art; the AGNSW has increased significantly. VisAsia with initial major supporter donations of almost and Tender Are the Stairs to Heaven, an installation funds have not only enabled the Gallery to acquire $10 million. The Fund signifies the NGV’s by contemporary Japanese artist Yayoi Kusama several works of high artistic significance, but commitment to strengthening and enriching the (born 1929) which combines fibre optic cable and have also provided support for a number of major Gallery’s historical and contemporary Asian mirrors to create a ladder to infinity. exhibitions (for example, the important Gallery- collections. originated Goddess: Divine Energy, 2005-06), and The Asian Art Acquisition Fund will enable the for an annual series of lunchtime lectures on the Initial donations included $6 million from the NGV to enhance the quality and breadth of its arts of Asia. NGV’s President of Trustees Allan Myers and Asian collections, and to represent the art of our his wife Maria; and a further $4 million which region through exemplary works displayed in both Recent VisAsia-assisted acquisitions include two includes donations from: the Yulgilbar Foundation; the permanent collection galleries and in focus pairs of Japanese male and female Shinto deities, Chair of the Supporters of Asian Art and NGV exhibitions. one pair from the 10th-11th century and the other Trustee Jason Yeap; Chair of the NGV Foundation from the 12th century; an exquisite Gandharan and NGV Trustee Bruce Parncutt; and two major Appeal for an Indian crystal and gold reliquary stupa from the Kushan bequests. The Director of the NGV, Dr Gerard ‘Masterpieces for the Nation’ period; and a pair of Japanese six-fold screens, Vaughan, has said that these donations are the National Gallery of Australia, Canberra mid-17th century, each decorated with five scenes first to be announced, leading up to the launch of from the classic novel The Tale of Genji written the NGV’s major 150th anniversary fundraising Over recent years, the National Gallery of by the court lady Murasaki Shikibu in around campaign in May 2008, which will conclude in Australia has established a small collection 1008. The Tale of Genji will also be the focus of the sesquicentenary year, 2011. The inaugural of large Indian shrine hangings (pichhavai). a VisAsia-supported exhibition, Genji: the world purchase of the Asian Art Acquisition Fund is One fine painting, Autumn moon festival of the Shining Prince, opening at the Gallery in Horse Stable, an early 17th century Japanese (Sharad purnima), is the current target of the December 2008. six panel folding screen depicting boldly drawn Gallery’s Masterpieces for the Nation Appeal, horses rearing and plunging in their stable. which channels modest donations to acquire works For information about membership of VisAsia, of art for the national collection. Donations can be go to www.asianart.com, or contact the Gallery’s The Asian art collections at the NGV have made by contacting the Gallery on (02) 6240 6691 Benefaction Manager (02) 9225.1818. benefited from generous philanthropic support for or by email at [email protected]. well over 100 years, and the Asian Art Supporters

Horse stable, Japan, early 17th century. Six panel folding screen:ink, pigments and on gold paint on paper, lacquer on wood, paper, silk, metal,

150.2 x 238.0 cm (image and sheet). Collection National Gallery of Victoria, purchased NGV Asian Acquisition Fund, 2008

22 TAASA REVIEW VOLUME 17 NO.2 INTERNATIONAL SYMPOSIUM ON BUDDHIST ART

Ann MacArthur Buddhist stele with a Buddha and two bodhisattvas, China, late Northern Wei (CE 500-34). Limestone, 113 x 80 x 30 cm; figure ht. 95.5 cm. Collection of the Qingzhou Museum, Shandong Province, China

n international symposium, ‘Chinese • What are the artistic A Buddhist Art: New Discoveries and links between the Perspectives’ organised by the Art Gallery of Qingzhou sculptures New South Wales and the Australian Centre and those from other for Asian Art and Archaeology at University sites in China? of Sydney, will bring leading scholars from around the world to Sydney at the launch in • What was the role of the August 2008 of the exhibition Lost Buddhas: sculptures in Buddhist Chinese Buddhist sculpture from Qingzhou. ritual and what do they tell us about Buddhist The discovery in 1996 of a cache of about iconography? 400 stone sculptures buried in a pit on the site of the long destroyed Longxing Temple • How popular was in Qingzhou, on China’s north-east coast Buddhism in early in Shandong province, was a significant China and who were archaeological find rivalling that of the first the patrons? What do emperor’s terracotta army. Created between we know about the the sixth-ninth centuries, the sculptures were leading Buddhist figures ritually interred during the 12th century for and their teachings in reasons that are still unclear. The historical Shandong? In his own unknowns together with the high level of lecture Riegel looks artistic attainment of the sculptures raise at the contribution of compelling questions that continue to inspire Shandong province to academic discussion. early Chinese religious and intellectual life. Following their discovery, exhibitions devoted Lukas Nickel from the in whole or in part to the Qingzhou Buddhist School of Oriental and African Studies Howard from Rutgers University on the sculptures were organised at museums in (SOAS) at the University of London assimilation of Indian sources which played Beijing, Tokyo, Europe and North America investigates the contribution made by a prominent role in shaping Shandong art . About 35 of the best preserved examples, lay believers in sponsoring sculptures in and the ‘southern style’ and Liu Yang on the including seven works not previously temples. centre of Buddhist art at Quyang in Hebei exhibited outside China, have been selected province. by curator Dr Liu Yang for exhibition in Helmut Brinker from the University of Zurich Sydney. is particularly known for his work on Zen Other symposium speakers include: Albert painting in China and Japan. He discusses the Dien from Stanford University on the Sogdian The Gallery’s director, Edmund Capon nature of Buddhist sacred icons and the ways religion in China and the tomb of Wirkak in was one of the original team who selected a mere material statue or painting becomes Xi’an; Lothar Ledderose from the University sculptures for the European exhibition Return animated manifestation of the divinity. of Heidelberg on ‘Gangshan: the mountain of the Buddha: the Qingzhou Discoveries in 2002 Roderick Whitfield is emeritus professor where Buddha preached’; and Dorothy C. (ref. TAASA Review 12/1, March 2003, pp 20- at SOAS and especially recognised for his Wong from the University of Virginia, who 22). He will speak at the symposium about publications on Central Asian Buddhist art considers the proliferation of names for Buddhist sculptures of the Northern dynasties and the Buddhist art in Dunhuang. His lecture Buddha recorded in inscriptions during the excavated at other sites in Shandong. examines the stages in the making of Buddhist sixth century and how this might help in images in China considering the adaptations understanding Buddhist practice of the time. Jeffrey Riegel, Head of the School of Languages in style according to local circumstances and Cultures, University of Sydney and Louis and materials. Eugene Wang of Harvard The symposium will take place over two B. Agassiz Professor Emeritus of Chinese at University looks at how painted sculptures days: Day 1 (29 August) at the University of the University of California, (Berkeley) has in niches and pictorial simulations of statues Sydney, Day 2 (30 August) at the Art Gallery been a scholar of classical Confucianism and on walls in a cave shrine at Dunhuang were of New South Wales. For detailed program ancient Chinese literature and archaeology for intended to map a calculated ritual process. and registration visit www.artgallery.nsw. 40 years. As co-organiser of the symposium he gov.au/events/symposia. The exhibition runs has articulated the key issues that participants Several lecturers investigate the development from 29 August-23 November 2008. will address. Among these are: of a Qingzhou or Shandong artistic style and its relation to other regions. These are Ann MacArthur is Senior Coordinator of Asian • What was the role of the Silk Road in the Patricia Kretzky of Bard College on the role Programs at the Art Gallery of New South Wales. transmission of Buddhism and was there of Buddhist scripture in the formation of a an equally important maritime route? regional style in Gansu province; Angela

TAASA REVIEW VOLUME 17 NO.2 23 TAASA MEMBERS’ DIARY JUNE – AUGUST 2008 CAMBODIA:

ANGKOR WAT Great Cities of Asia – Beijing of urban change; Ying Chang Beyond the Dream, Xanadu: past, present and future a documentary presentation about the impact AND BEYOND No.3 in TAASA’s occasional seminar series of the Olympic Games on Beijing. Great Cities of Asia In conjunction with Sydney (26 July 2008) and Melbourne A selection from Hedda and Alastair Australian Museum Members (2 August 2008) Morrison’s Chinese belt toggle collection will 02 November – 19 November 2008 be displayed on Level 3 of the Powerhouse The modern city of Beijing occupies a site that Museum in association with the Beijing dates back to the fabled Xanadu of Kublai Olympics and with this event. Khan and earlier. Some of ancient city’s walls, palaces and towers still stand; many have Melbourne seminar, Saturday 2 August 2008 fallen prey to the desire for modernisation, BBDO Clemenger Auditorium, NGV International as have its forests and fields. The history and St Kilda Road, Melbourne culture of Beijing reflect the city’s past glories as well as some of the dark secrets of its rulers. Speakers in Melbourne will include: Prof. In the 21st century, Beijing once again attracts Jocelyn Chey Beijing in the Western Imagination; pilgrims, traders and visitors from around the Prof. Geremie R. Barmé Beijing Reoriented, an world, especially in this Olympic year. This Olympic Undertaking ; Dr Claire Roberts Hedda seminar in TAASA’s lecture series on Great Morrison’s Peking; Dr Ye Xiaoqing Imperial Cities of Asia includes papers on Beijing’s City, Chinese City - aspects of everyday life in old past as well as its present and future role. Peking; John Denton Beijing Architecture; ZiYin Wang Gantner The film industry in Beijing, then TAASA will be presenting two programs, one and now. in Sydney at the Powerhouse Museum and one in conjunction with the National Gallery Detailed information re times, content, costs of Victoria in Melbourne, as follows: With Angkor as its capital, the Khmer empire etc.of both seminars will be provided in the ruled over what is now central and southern Viet brochure to be mailed to all members shortly. Sydney seminar, Saturday 26 July 2008 Nam, southern Laos, Thailand and part of the Or visit our website www.taasa.org.au. Malay Peninsula. Angkor's colossal ruins are the Coles Theatre, Powerhouse Museum major reason people come to view the empire’s Haymarket, Sydney NSW Textile Focus Group remnants. Yet Cambodia offers much more All meetings held 6-8 pm in the Briefing including outstanding ancient and French colonial Speakers in Sydney will include: Prof. Jocelyn Room, Powerhouse Museum, and include architecture, spectacular riverine environments, a Chey Beijing in the Western Imagination; supper. TAASA members $5.00, non-member revitalising capital and beautiful countryside. Prof. Geremie R. Barmé Beijing Reoriented, s $7.00. Inquiries Gill Green 02 93311800. Our itinerary reflects this variety and our joint an Olympic Undertaking; Dr Claire Roberts Wed 11 June Gill Green on two bark cloth leaders are looking forward to sharing their Hedda Morrison’s Peking; Min-Jung Kim The jackets from ‘Borneo’. enthusiasm for Cambodia with you: Gill Green, Morrison Belt Toggle Collection at the Powerhouse Wed 9 July tba Vice President of TAASA, art historian and author Museum; Dr Ye Xiaoqing Imperial City, Chinese Wed 13 August Margo Beasley on barkcloth specialising in Cambodian culture; and Darryl City - aspects of everyday life in old Peking; John from Samoa (provisional) Collins, prominent Australian expatriate university Courtney Beijing Transformed, a quarter century lecturer and museum curator who has lived and worked in Cambodia for over fifteen years.

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H ERITAGE D ESTINATIONS NATURE • BUILDINGS • PEOPLE • TRAVELLERS

Suite 102, 379 Pitt Street Sydney NSW 2000 Australia PO Box K1042 Haymarket NSW 1240 Australia Phone: +61 2 9267 0129 Fax: +61 2 9267 2899 ABN 93 086 748 834 LIC NO 2TA004916

Looking south from Coal Hill over the Forbidden City (detail) by Hedda Morrison, China 1933-1946.

Silver gelatin print. Collection: Powerhouse Museum, Sydney

24 TAASA REVIEW VOLUME 17 NO.2 RECENT TAASA ACTIVITIES

Book Launch, Sydney April as the Miller family is relocating to the On 11 March, TAASA and the NSW Branch USA. Susan has served as TAASA’s Hon. of the Australian Institute of International Secretary for five years with enthusiasm and Affairs jointly sponsored the launch of a new dedication and Robert not only maintained book on Shanghai architecture by Australian the membership database but set up the heritage architect Anne Warr. An overflow TAASA website and kept it up to date. On crowd attended the evening function at the behalf of all TAASA members, the Committee Glover Cottages in Kent Street, Sydney. Mack wishes them all the best with the future. Williams, President of NSW AIIA, and Jocelyn Chey, TAASA committee member, introduced Calligraphy demonstration, Melbourne Anne, who gave a lavishly illustrated On 1 April, Christina Chung, whose paint- introduction to her work over many years ings have been shown in both solo and group recording historic and modern buildings. Her exhibitions in Asia, Europe and Australia, book Shanghai Architecture is published by gave a talk and demonstration of traditional The Watermark Press, Sydney. Chinese painting to an appreciative audience of TAASA members and friends. While her Farewell to the Millers, Sydney oeuvre encompasses colourful flower paint- The TAASA Committee farewelled ings and traditional monochromatic land- Susan and Robert Miller in Sydney in late scapes, and examples of her two contrasting styles were on display, on this occasion she confined herself to demonstrating in black ink, creating a beauti- ful painting of bamboo with accompanying calligraphy.

Farewell in Sydney: left to right,

Jocelyn Chey, Susan Miller, Judith

Rutherford, Louise Geoghan and

Robert Miller

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TAASA REVIEW VOLUME 17 NO.2 25 WHAT’S ON: JUNE – AUGUST 2008

A S E L E C T I V E R O U N D U P O F AUSTRALIAN E x h IBITIONS AN D E V E N T S

Compiled by Tina Burge

AUSTRALIAN CAPITAL TERRITORY offered middle-class visitors an opportunity 22 July, 12.45 pm: ‘The Dancing Shiva’. Edie for fantasy and dressing-up as part of the Young, Public Programs NGA, on a new Picture Paradise: The first century of Asia- tourist experience. addition to the Gallery’s Indian art collection, Pacific photography 1840s-1940s 19 August, 12.45 pm: Dr Isobel Crombie, an 1th-12th century Chola bronze. National Gallery of Australia, Canberra Senior Curator, Photography, National 11 July-9 November 2008 Gallery of Victoria, discusses the development of the highly theatrical genre of Shashin NEW SOUTH WALES A major historical survey exhibition exploring (photographs) taken in Japan in the mid-19th aspects of the history of photography from century. Taisho Chic: Japanese Modernity, the 19th century to the 1940s in the Asia- 2 September, 12.45 pm: Floor talk by Simeran Nostalgia and Deco Pacific region, from India through to the Maxwell, National Gallery of Australia, Art Gallery of Sydney South Wales, Sydney West Coast of North America. Thematic areas on indigenous Asian photographers in the 22 May-3 August 2008 of the exhibition will include the use of exhibition. photographic portraiture as a political tool 23-31 August: Asia-Pacific Film Series Explores the impact of the simultaneous clash by Asia-Pacific leaders; landscape and the Screenings of rarely-seen films made in the and embrace of modernity and tradition wilderness; and hybrid Western and Asia- early 20th century by Western filmmakers on arts and design in Japan of the Greater Pacific fashion and costume photography as and adventurers who explored, documented Taisho period (1900-1930). A comprehensive political and social performance. and romanticised the cultures of the Pacific range of public programs will accompany the and the ‘Far East’. For details see website. exhibition. Guided Tours will take place daily See www.nga.gov.au/PictureParadise or call at 1.00 pm and Wednesdays at 7.15 pm. Further 02 6240 6502. Asian Art floor talks and performances information at www.artgallery.nsw.gov.au. National Gallery of Australia, Canberra Wednesdays, 5.30 pm: floor talks, including 8 June, 2.00 pm: Indian dance: a lecture the following speakers: by dancer/choreographer Padma Menon 2 July: Khanh Trinh, Curator of Japanese art, will provide a unique perspective on the AGNSW sacred dimensions of dance and sculpture in 16 July: Kathryn Hunyor, Arts Consultant India. Plus a classical dance performance by 23 July: Peter McNeil, Professor in Design professional dancers from India. History, UTS 24 June, 12.45 pm: ‘Buddhist Art in East 30 July: Chiaki Ajioka, Japanese Art Lecturer, Asia’. Melanie Eastburn, Asian Art Curator, University of Sydney on characters and concepts in East Asian Javanese dancers in the 1920s (detail) by Tassilo Adam. Buddhist art. 2 July, 6.30pm: Shakuhachi master Riley Silver gelatin print, Dimensions. Collection National 1 July, 12.45 pm: Contemporary Asian art: Lee presents ‘Traditional and modern: Gallery of Australia, purchased 2007 No Ordinary Angels: the flying installations music of Japan in the roaring twenties’ with of Indonesian artist, Heri Dono. Dr Michelle fellow artists visiting Sydney for the World Talks associated with the exhibition include: Antoinette, Researcher of Modern and Shakuhachi Festival 2008. 13 July, 2.00 pm: Gael Newton, Senior Contemporary Asian Art, Australian National 9 July, 6.00 pm: special lecture by Anne Curator, Photography and curator of the University. Wilkes Tucker, Gus and Lyndall Wortham exhibition explores aspects of the history of Curator of Photography at Museum of photography in the Asia-Pacific region from Fine Arts, Houston, ‘The New Middle Class the 19th century to the 1940s. and Amateur Art Photography in Taisho 15 July, 12.45 pm: Edward Stokes, period Japan’. photographer, writer and author of Hedda Morrison’s Hong Kong (2005), talks about The ‘Art After Hours’ Celebrity Speakers Morrison, a pioneer woman photographer series will feature three guests who will of Asia, who recorded its people, places and discuss various aspects of Japanese culture. patterns of life for over three decades. Stokes 16 July, 6.30 pm: author Linda Jaivin on will present her 1946 photographs of Hong ‘Fighting Chic’, surveying the patriotic Kong and explore the creative connections fashion worn during the Russo-Japanese War with her earlier China, and later Southeast of 1904-1905. Asian, photography. 23 July, 6.30 pm: fashion designer Akira 1 August, 6.00 pm: The makers of the film Isagowa on Japanese fashion. Photowallahs, David and Judith McDougall, Flying angels by Heri Dono, Indonesia, 2006. polyester 30 July at 6.30 pm: author Ben Hills (Princess will speak about their film prior to a screening. resin, clock parts, electronic components, paint, wood, Masako, Prisoner of the Chrysanthemum Throne) The film shows how street photographers in cotton gauze; various sizes. Promised gift of Gene and gives his perspective on contemporary the north Indian hill station of Mussoorie Brian Sherman to the National Gallery of Australia 2008 Japanese culture.

26 TAASA REVIEW VOLUME 17 NO.2 21 May-15 June: Yasujiro Ozu film series QUEENSLAND program: Wednesdays at 2.00pm & 7.15pm, Sundays at 2.00pm Lee Mingwei’s Gernika in Sand Like the artwork in the exhibition, this series Queensland Gallery of Modern Art, Brisbane of films explores the impact of the clash 3 May-6 July 2008 and embrace of modernity and tradition in Japan. Films include Early spring (Soshun, The New York-based Taiwanese artist Lee 1956), Equinox flower (Higanbana, 1949) and An Mingwei uses Picasso’s painting Guernica autumn afternoon (Sanma no aji, 1962). as a reference point as well as a point of 14 July-17 July, 1.30pm: Children’s Holiday departure for his installation Gernika in Sand. Workshops and a children’s performance The artist and a group of assistants will re- ‘Floating on a sea of stories’. create Picasso’s famous work in sand over a ten day period. Midway through the display The Lost Buddhas: Chinese Buddhist on 9 June the artist will return to alter the Sculpture from Qingzhou work, destroying it over a period of a day by Art Gallery of New South Wales, Sydney sweeping the sand using a bamboo broom to 29 August-23 November 2008 create a new work that is characterised by its sweeping abstract and gestural forms.

See article on p.21 of this issue of TAASA Women’s wedding kimomo, Japan, c.1850. Silk, shibori

Review. These refined and sensual sculptures Further information at www.qag.qld.gov.au. dyeing technique. Collection Osaka Museum of History illustrate the dramatic stylistic changes that occurred during a time when Buddhist art in China reached its apogee. Black Robe White Mist: Art of the Japanese Buddhist nun Rengetsu An international symposium ‘Chinese RMIT Gallery, Melbourne Buddhist Art: New Discoveries and 5-28 June 2008 Perspectives’ organised by the Art Gallery of New South Wales and the Australian Largely drawn from international private Centre for Asian Art and Archaeology at the collections, the works of paper and clay in University of Sydney brings an impressive this exhibition from the National Gallery of group of leading scholars from around Gernika in Sand by Lee Mingwei, China/USA, 2007. Mixed Australia are contemplative and inscribed the world to Sydney at the launch of the media interactive installation at the Chicago Cultural with Buddhist nun Rengetsu’s elegant exhibition. See p.21 for detailed information Center. Collection Yeh Rong Jai Culture & Art Foundation, poetry and understated calligraphy. For on this significant event. Taiwan. Photo Anita Kan, courtesy Lee Studio further information go to www.rmit.edu.au/ rmitgallery In conjunction with the exhibition and VICTORIA symposium the Dr S.T. Lee Annual Lecture in Moon in Reflection: the art of Kim Hoa Tram Asian Art and Archaeology at the University Kimono: Osaka’s Golden Age National Gallery of Victoria International, of Sydney will be presented by Professor Immigration Museum, Melbourne Melbourne Eugene Wang, Abby Aldrich Rockefeller 15 May-14 September 2008 11 April-21 September 2008 Professor of Asian Art, Department of History of Art & Architecture, Harvard University, on Showcases lavish kimono and accessories Kim Hoa Tram (Shen Jinhe in Chinese) was 26 August 2008 at 6pm. from the Osaka Museum of History. The born in Saigon in 1959, although his family is exhibition highlights a golden age of originally from Fujian province in China. He prosperity experienced in Osaka 150 years migrated to Australia in 1984 and now lives NORTHERN TERRITORY ago when wealth was expressed through in Melbourne. luxurious and splendid fashions. As part of Arafura Craft Exchange the Immigration Museum’s 10th birthday His paintings and calligraphies are evocative Trajectory of Memories, Tradition and program, this exhibition also celebrates 30 of an aesthetic and spiritual experience Modernity in Ceramics years of the Melbourne-Osaka sister-city inspired by Zen (Chan in Chinese) Buddhism. Museum and Art Gallery of the Northern Territory, relationship. A special interactive area will He is also influenced by the Chinese Darwin encourage families to actively experience tradition, especially Chinese ink painting and 11 July 2008-18 January 2009 Japan’s clothing traditions by learning how calligraphy. to dress in a yukata kimono, with samples for The Second Triennial Arafura Craft Exchange visitors to try on. Further information at www.ngv.vic.gov.au/ is concentrating on the ceramic tradition of ngvinternational. Australia and Indonesia and will include The Immigration Museum will also offer 199 pieces from seven artists – four from events in conjunction with the exhibition Indonesia and three from Australia. including a special winter school holiday event for children, ‘Winter Kidsfest: Experience For further information go to www.nt.gov. Japan’ on 6 July. For further information on au/nreta/museums this and other events call 13 11 02 or go to museumvictoria.com.au.

TAASA REVIEW VOLUME 17 NO.2 27