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VOLUME 24 NO. 3 SEPTEMBER 2015 TAASA Review CONTENTS

Volume 24 No. 3 September 2015

3 EDITORIAL TAASA REVIEW Josefa Green, Editor THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. Abn 64093697537 • Vol. 24 No. 3, September 2015

4 THE 8TH ASIA PACIFIC TRIENNIAL OF CONTEMPORARY ART ISSN 1037.6674 Registered by Australia Post. Publication No. NBQ 4134 Tarun Nagesh

editorIAL • email: [email protected] 7 KALPA VRIKSHA: CONTEMPORARY INDIGENOUS AND VERNACULAR ART OF INDIA AT APT8 General editor, Josefa Green Abigail Bernal publications committee 9 UNDERGLAZED JOSEON PORCELAINS: THE CULTIVATION OF A KOREAN Josefa Green (convenor) • Tina Burge NEO-CONFUCIAN AESTHETIC Melanie Eastburn • Sandra Forbes Charlotte Galloway • Marianne Hulsbosch Penny Bailey Ann MacArthur • Jim Masselos • Ann Proctor Sabrina Snow • Christina Sumner 12 INDIGO: THE FASCINATION WITH BLUE design/layout Margaret White Ingo Voss, VossDesign

14 RELICS AND MONUMENTS OF BUDDHIST KASHGAR printing John Fisher Printing Marika Vicziany & Angelo Andrea di Castro Published by The Asian Arts Society of Australia Inc. 18 THE AGA KHAN MUSEUM, TORONTO PO Box 996 Potts Point NSW 2011 Leigh Mackay www.taasa.org.au

Enquiries: [email protected] 20 MODERN ART OF SOUTHEAST ASIA AT THE NATIONAL GALLERY SINGAPORE www.facebook.com/taasa.org

Phoebe Scott TAASA Review is published quarterly and is distributed to members of The Asian Arts Society of Australia Inc. TAASA Review welcomes 22 COLLECTOR’S CHOICE: TWO TIBETAN TSAKLI submissions of articles, notes and reviews on Asian visual and Boris Kaspiev performing arts. All articles are refereed. Additional copies and subscription to TAASA Review are available on request. 24 State of Play and Contemporary at the White Rabbit Gallery, Sydney No opinion or point of view is to be construed as the opinion of Sabrina Snow The Asian Arts Society of Australia Inc., its staff, servants or agents. No claim for loss or damage will be acknowledged by TAASA 26 BOOK REVIEW: BUDDHIST ART OF MYANMAR Review as a result of material published within its pages or in other material published by it. We reserve the right to alter Charlotte Galloway or omit any article or advertisements submitted and require indemnity from the advertisers and contributors against damages 27 INTRODUCING DR STEPHEN WHITEMAN, LECTURER IN ASIAN ART HISTORY, or liabilities that may arise from material published. SYDNEY UNIVERSITY All reasonable efforts have been made to trace copyright holders. Josefa Green

TAASA MEMBERSHIP RATES 28 RECENT TAASA ACTIVITIES $80 Single (Australia and overseas) $90 Dual (Australia and overseas) 30 TAASA MEMBERS’ DIARY: SEPTEMBER - NOVEMBER 2015 $95 Libraries (Australia and overseas) $40 Concession (full-time students under 26, pensioners 31 WHAT’S ON: SEPTEMBER - NOVEMBER 2015 and unemployed with ID, Seniors Card not included) Compiled by Tina Burge advertising RATES TAASA Review welcomes advertisements from appropriate companies, institutions and individuals. Rates below are GST inclusive.

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The deadline for all articles Tsunami, 2015 (detail), Jaba CHITRAKAR, Vegetable colour on FOR OUR NEXT ISSUE IS 1 OCTOBER 2015 mill made paper. Courtesy: the artist. SEE pp7-8 IN THIS ISSUE. The deadline for all aDvertising FOR OUR NEXT ISSUE IS 1 NOVEMBER 2015 A full Index of articles published in TAASA Review since its beginnings in 1991 is available on the TAASA web site, www.taasa.org.au

2 TAASA COMMITTEE EDITORIAL

Gill Green • President Josefa Green, Editor Art historian specialising in Cambodian culture

ANN PROCTOR • Vice President For the eighth Asia Pacific Triennial of Our two other major articles in this issue Art historian with a particular interest in Vietnam Contemporary Art (APT8), opening in cover historical topics. Todd Sunderman • TREASURER Brisbane in November, the TAASA Review is Former Asian antique dealer, with a particular interest featuring two articles. The first is an overview Penny Bailey’s article on Joseon period in Tibetan furniture by Tarun Nagesh, Assistant Curator, Asian porcelains from Korea explains why we see a Dy Andreasen • SECRETARY Art, highlighting some of its key works radical shift in artistic taste in the early years Has a special interest in Japanese haiku and and themes. Abigail Bernal, Assistant of the Joseon dynasty (1392–1910) from the tanka poetry Curator, Contemporary Asian and Pacific celadons of the previous Goryeo dynasty, in

Siobhan Campbell Art, provides a more focused article on one particular favouring the quieter elegance which Lecturer, Indonesian Studies, Sydney University particular multi-artist project featuring artists characterises much of Joseon’s largest ceramic with an interest in Balinese art from indigenous or rural based communities genre of white porcelains (baekja). She walks in India whose art practices have been us through the evolution of these porcelains, Josefa Green ephemeral and generally made for a context from pure white to iron-painted and cobalt- General editor of TAASA Review. Collector of other than a museum. An example of their blue decorated wares, and finally the revival of Chinese ceramics often bold and colourful work can be seen on underglazing in copper in the 18th century. Boris Kaspiev the front cover of this issue. Private collector of Asian art with a particular interest For those that missed her lecture as part of in the Buddhist art of the Himalayan region Textile traditions are also often intrinsic to the TAASA’s Archaeology in Asia series, Relics MIN-JUNG KIM life of indigenous communities. At her Sydney and Monuments of Buddhist Kashgar by Marika Curator of Asian Arts & Design at the TSG presentation on 9 June and in her article, Vicziany and her colleague Angelo Andrea Powerhouse Museum Margaret White explores the place of indigo di Castro of Monash University’s Kashgar

James MacKean dye across many traditional communities in Research Project, will be of particular interest. Southeast Asian and West Africa, covering They make a convincing case for placing Collector of oriental ceramics both the symbolism and myth surrounding the Kashgar at the centre of Buddhist studies Natalie Seiz use of natural indigo and the complex technical in western . From the evidence they Assistant Curator, Asian Art, AGNSW with an processes involved in the art of preparing the have accumulated to date, they believe that interest in modern/contemporary Asian Art indigo and dyeing yarn. archaeological work in this area will confirm CHRISTINA SUMNER Kashgar as one of the major and earliest entry Former Principal Curator, Design and Society, Sabrina Snow continues our focus on points for Buddhist and other religious ideas Powerhouse Museum, Sydney contemporary art with her review of the into China. Sandy Watson most recent exhibition, State of Play, at the Collector of textiles with an interest in White Rabbit Gallery, placing it in the context Finally, this TAASA Review offers a number photography and travel of the Gallery’s previous 12 exhibitions and of shorter pieces which we hope will be of the philosophy behind the White Rabbit art interest to readers. As so often, we draw on Margaret White collection as a whole. the knowledge of our members - in this case, Former President and Advisor of the Friends of Boris Kaspiev, Convenor of TAASA Victoria, Museums, Singapore, with special interest in The philosophy behind the National Gallery who writes about two tsakli in his collection - Southeast Asian art, ceramics and textiles Singapore, opening in November this year, small ritual paintings from Tibet, dating to the TAASA Ambassador is discussed by Phoebe Scott, currently a 13th – 14th century. Jackie Menzies curator at NGS. She points out that, while Emeritus Curator of Asian Art, Art Gallery of NSW. national galleries throughout Southeast A stimulating book review is provided by President of TAASA from 1992 – 2000 Asia have important collections of their own Burma expert Charlotte Galloway, who state representatives country’s modern artworks, this Gallery critiques the catalogue of the recent exhibition will be significant for offering a permanent Buddhist Art of Myanmar held at Asia House, AUSTRALIAN CAPITAL TERRITORY regional platform where the art histories of New York in February 2015. Finally, I report Melanie Eastburn these countries can be viewed side by side, on a very enjoyable conversation I had with Curator of Asian Art, National Gallery of Australia uncovering new relationships and leading to Dr Stephen Whiteman, Lecturer in Asian new avenues for exhibition and research. Art History at Sydney University, where QUEENSLAND we discussed his work and his views on the Tarun Nagesh A different sort of Museum is covered by future of Asian art studies in Australia. Assistant Curator, Asian Art, QAGOMA Leigh Mackay, namely the Aga Khan Museum in Toronto, which opened in late 2014. This As usual, we have a great deal of recent SOUTH AUSTRALIA is the latest showcase for displaying the TAASA activities to report and, as we race James Bennett rich artistic heritage of the Islamic world, towards the end of the year, a symposium on Curator of Asian Art, Art Gallery of South Australia following a number of major renovations of Asian jewellery will be held on 19 September Islamic collections over the last 10 years such in Sydney, as well as a range of activities in VICTORIA as at the Metropolitan Museum of Art, NY Sydney, Melbourne and Brisbane. We can also Carol Cains and the V&A in London, as well as Qatar’s look forward to relaxing and sociable end-of- Curator Asian Art, National Gallery of Victoria new Museum of Islamic Art, which opened in year events in all three cities: please see the International Doha in 2008. details in the TAASA Members’ Diary.

3 THE 8TH ASIA PACIFIC TRIENNIAL OF CONTEMPORARY ART

Tarun Nagesh

Rubber Man, 2014, Khvay SAMNANG, Cambodia b.1982. Digital print on cotton rag paper, ed. 1/3 + 1AP, 80 x 120cm.

Queensland Art Gallery | Gallery of Modern Art Foundation,Queensland Art Gallery Collection

ontemporary art practices in the Asia- C Pacific continue to grow, adapt and change at a rapid rate, reflecting not only the most recent artistic trends, but the political, economic and social structures from which they emerge. The Asia Pacific Triennial of Contemporary Art (APT) has represented the art of the region since 1993, and this November marks the eighth instalment of the exhibition. This iteration presents over 80 projects from a region that extends from Samoa to Turkey, along with a diaspora and production methodologies that traverse the world. Following the 20 year anniversary celebrated in 2012-13, APT8 brings together new trends and emerging artists alongside senior and pioneering figures and specially developed focus projects.

APT8 spreads through the entirety of the Gallery of Modern Art (GOMA) as well as a majority of the recently heritage-listed they provide glimpses of parts of India rarely traditional imagery, challenging the strict Queensland Art Gallery (QAG). Occupying seen. Meanwhile a major focus project for discipline in figuration and exploring abstract the central spaces of both buildings are major this Triennial explores the great breadth and qualities inherent in Thangka designs. installations drawing on one of the themes vitality of art from some of the more remote threading through the exhibition: the use of parts of India in Kalpa Vriksha: Contemporary Kathmandu-based Hit Man Gurung represents everyday objects and vernacular processes. In Indigenous and Vernacular Art of India. the emerging generation of Nepali artists and the QAG watermall, a space that has become their strong sense of social activism. Gurung’s iconic for the APT staging major works by While APT is known for works in a wide realist paintings investigate the effects of the likes of Cai Guo-Qiang, and range of media, APT8 will offer a rich breadth the mass labour migration of young Nepali , Korean artist Haegue Yang of painting practices, born from a diversity men to the Middle East and the shocking installs a striking abstract form in homage of traditions and techniques. Following the conditions and numerous work-place deaths. to Sol LeWitt, constructed from over 1000 first research trip conducted by QAGOMA Like many young Kathmandu artists, Gurung venetian blinds. This hangs nearby two other to Mongolia, a suite of works by some of the was heavily active in relief efforts following object-rich installations: Iranian trio Ramin leading Mongol zurag painters exposes this this year’s earthquakes, and a new painting Haerizadeh, Rokni Haerizadeh and Hesam fascinating form. Mongol zurag is a revival created for APT8 has allowed him to respond Rahmanian who amass illustrations, street of a painterly idiom developed during the to these experiences. theatre, re-creations of Persian poetry and Mongolian independence movement of the painting and their own art collections; and early 20th century. Characterised by its ultra- A new series of works by Thai artist Navin Choi Jeong Hwa, known for his enormous, fine brushwork, flattened perspective and Rawanchaikul captures his signature movie- brightly coloured sculptures fashioned from themes drawn from everyday life, Mongol poster like panoramas of figures, and domestic and everyday plastic objects. zurag synthesised Tibetan Thangka painting reflects on 20 years of his career, including with classical Chinese painting and Liao participating in APT2 in 1996 and his trips to In the core of GOMA, Indian artist Asim Waqif dynasty equestrian art to express the ideals of assist renowned Thai artist Montien Boonma creates his most ambitious work to date, an secular nationalism. in Australia in the early 1990s. Liu Ding and interactive structure that traverses levels and Duan Jianyu are artists at the forefront of new bears the influence of the artist’s background Re-emerging as the country sought to waves in Chinese contemporary art. Both in architecture and interest in Queensland reconstitute its national identity in the late of these artists maintain highly conceptual vernacular building materials. Waqif is part 1990s, Mongol zurag has been taken up by approaches while borrowing and challenging of a significant contingent of Indian artists in a passionate new generation who have historical motifs; Liu Ding is interested in APT8, and each represents practices outside found within it a means to address the testing principles of social realism in the the established art centres of Mumbai and unprecedented urbanisation and uncertain context of China’s new art market and Delhi. Desire Machine Collective is a duo from economy of their homeland. The rich textures Duan Jianyu’s large-scale paintings present Assam, known for their slow-paced, cinematic of these paintings resonate with Nepalese- incongruous scenarios drawing on a wide films, and together with Prabhakar Pachpute’s born Tibetan artist Tsherin Sherpa’s bold range of sources from European art history, site specific charcoal drawings inspired by compositions. Trained by his father, a master classical Chinese painting, and imagery of the coal-mining region of his hometown, Thangka painter, Sherpa deconstructs the rural life.

4 TAASA REVIEW VOLUME 24 NO.3 4 (from ‘Lahore’ series), 2015, Risham SYED, Pakistan

Yellow helmet and gray house (from ‘I Have to Feed Myself, My Family and My Country’ series), 2015 (detail), Hit Man GURUNG, b.1969. Synthetic polymer paint on canvas on aluminium,

Nepal b.1986. Synthetic polymer paint on canvas, Diptych: 152.4 x 243.8cm (overall).Courtesy: The artist 10.2 x 15.2cm. Courtesy: The artist and Project 88

Ambrym, Vanuatu. Meltherorong has worked with Kanak artist Nicolas Molé to create an innovative multi-media installation, exploring connections between different cultural groups across the Pacific, activated through dance, music, spoken word, drawing and theatre.

Performativity is conveyed in various modes throughout APT8, crossing disciplines of music, dance and visual art as well as investigating how artworks and audiences can perform. Another collaborative project has been developed by New Zealand artist Rosanna Raymond, a founding member The complex geopolitics of the region incise detailed designs, alongside a unique of the influential performance group the are echoed by artists that explore a sense approach to larrakitj (poles). Pacific Sisters. Raymond’s ongoing project of place – investigating meanings of SaVAge Klub, responds to the late 19th century belonging, ownership, relationship to land On a charmingly small scale, Lahore-based London gentlemen’s club of the same name, and occupation of space, and how these artist Risham Syed paints landscapes of appropriating its anti-establishment ethos respond to change. Three Cambodian artists her home city, to depict transitory urban and museum-like club rooms to create a space contemplate the meaning of their homeland development, executed in the detail of a for ‘savage’ activations by contemporary while representing different echelons of the skilled miniaturist. Thai artist Paphonsak La- Pacific artists. For APT8, Raymond creates a country’s contemporary art world. Khvay or found an unexpected connection between SaVAge Klub in GOMA, inviting Australian Samnang is one of the leading artists of his surroundings in Chiang Mai, with that of and Pacific artists to participate in a range the younger generation, widely known for the Tohoku region in Japan. His picturesque of performances and activities that extend his performative photographs in which he landscapes suggest sinister issues beneath her examinations into Pacific identities and unravels controversial private development the surface – the military governance of his cultural appropriation. in Cambodia; Anida Yoeu Ali represents both country compared with the nuclear fallout in a returning diaspora and a Muslim Khmer Japan. Photographer Lieko Shiga’s installation Celebrated artists of the region contribute to a community through her visually arresting is also imbued with the 2011 disasters in Japan. discourse surrounding how artworks perform Buddhist Bug videos that document Cambodia She returned to Japan in 2008 and by chance and how the body is used within them, from while embodying ideas of ‘otherness’, and became the official photographer for the the pioneering kinetic works of the late senior artist Leang Seckon’s embellished small town of Kitakama in Miyagi prefecture. New Zealand artist Len Lye and a 12 hour paintings deal with the Khmer Rouge When Kitakama was destroyed in the 2011 performance staged on the opening weekend occupation alongside mythological meaning Tsunami, Shiga gathered, cleaned and sorted by , to a body of new and contemporary life in Cambodia. over 30,000 photographs that had washed paintings by Australian artist Juan Davila and ashore. Her powerful Raisen Kaigan or ‘Spiral a powerful image by Japanese photographer The photographic series Blood Generation Coast’, an immersive installation of large-scale Yasumasa Morimura. These works set the by Taloi Havini and Stuart Miller reflects photographs propped on plinths, reflects on pace in explorations of performativity, from the people of Bougainville’s ongoing grief experiences in the aftermath of the Tsunami. live and participatory projects to artists who over the loss of their land as the result of use the body to question constructions of mining interests. These poetically capture A major collaborative project fuses the identities, such as siren eun young jung, the generation born into the conflict that underpinnings of belonging and connections Richard Bell, Super Critical Mass, Christian began in 1988 surrounding the contested to place, with the dynamic role of performance Thompson, Justin Shoulder and Bhenji Ra, land of Panguna between local landowners, – another major thread running through APT8. Angela Tiatia and Hetain Patel. the Papua New Guinean government and Yumi Danis (We Dance) is a project exploring Australian owned mining company, Conzinc contemporary performance in Melanesia. It As apparent in previous APTs, a strong sense Rio-Tinto of Australia Limited. Indigenous is co-curated with Ni-Vanuatu author and of social activism and political criticism is Australian artist Gunybi Ganambarr musician Marcel Meltherorong and involves palpable throughout the exhibition. These meanwhile draws on the materiality of mines, ongoing collaborations between 15 dancers call upon a broad range of concerns and are using rubber conveyor belts and other found and musicians from across the region who expressed through various devices, but draw materials from mining sites to meticulously took part in a 2014 creative exchange in attention to the fact that artists working in

TAASA REVIEW VOLUME 24 NO.3 5 Tomorrow, 2014, Nomin BOLD, Mongolia b.1982. Gouache, old scripture sheets on Let’s walk, 2009, Haider Ali JAN, Pakistan, b. 1983. Digital print on canvas, cotton194 x 144cm. Purchased 2015 with funds from Ashby Utting through the Queensland 114.3 x 76.2cm. Queensland Art Gallery | Gallery of Modern Art Foundation,

Art Gallery | Gallery of Modern Art Foundation, Queensland Art Gallery Collection Queensland Art Gallery Collection

these parts of the world feel a responsibility engagement with in the past. This has resulted documents, creating subtle subversions to to represent the political, psychological, social in a significant representation of works from reclaim national identity. and economic concerns of their communities. Myanmar including Po Po, a senior artist and Representations and rituals pertaining to pioneer of conceptual and performance art The APT8 opening weekend features a broad faith play a significant part in works by a since the late 1970s, who has continued to program of live performances, artist talks number of APT8 artists. Young Australian find ways to produce works under wavering and panel discussions, inviting participants artist Abdul Abdullah premieres a new body political and social conditions. Nge Lay’s and audiences from around Australia and the of work which continues his investigations installation The Sick Classroom is perhaps the world. Following the weekend a conference into the perceptions of Islam in Australia, most ambitious contemporary work to emerge draws upon speakers associated with the while Turkish filmmaker Köken Ergun, and from Myanmar in recent times, and alongside exhibition and invited international guests, to Pakistani animator and illustrator Haider Ali large toy-like sculptures by emerging artist continue the discourse around the exhibition Jan depict Shiite rituals performed in Istanbul Min Thein Sung, these capture the excitement and the broader context of practices emerging and Lahore respectively, to address aspects of of Burmese contemporary art now reaching from the Asia Pacific. In a part of the world the communities in which they occur. out to the world. that continues to experience rapid change, APT8 presents a diverse range of voices and Forms of protest and dissent draw attention Artists from central Asia speak the ideas, offering a platform to exchange and to the mass demonstrations in Asian nations vernacular of the culturally and historically challenge the ideas that surface around us, in recent history. These include Kiri Dalena complex region in which they live. Georgian ideas that manifest the excitement, complexity revisiting archival newspaper photographs collective Bouillon Group creates a light- and uncertainty of contemporary life in the of protests leading up to Ferdinand Marcos’s hearted performance that combines the region that surrounds us. long military dictatorship that began in 1972, devotional gestures of various religions of Sharon Chin collecting and overlaying political the world into an exercise routine; Kyrgyz Tarun Nagesh is Associate Curator, Asian Art at party flags in her hometown of Port Dickson, duo Gulnara Kasmalieva and Muratbek Queensland Art Gallery / Gallery of Modern Art. He and a visually arresting video by Djumaliev present a vision of A New Silk Road, is part of the curatorial team for APT8 which will run artist Zhou Tao who juxtaposes images of his tracking the trade of scrap metal leaving from 21 November 2015 – 10 April 2016. hometown with that of demonstrators on the their homeland bound for China, with cheap streets during the Occupy Bangkok protest in factory goods coming the other way; and early 2014. Kazakh couple Yelena Vorobyeva and Viktor Vorobyev offer glimpses of the past, probing In addition to Mongolia, APT8 presents projects the collective memory of Soviet governance from regions that the exhibition has had little by drawing over their portraits from official

6 TAASA REVIEW VOLUME 24 NO.3 KALPA VRIKSHA: CONTEMPORARY INDIGENOUS AND VERNACULAR ART OF INDIA AT APT8

Abigail Bernal Tsunami, 2015, Pushpa KUMARI, Bihar, India b.1969. Ink on acid free paper, 61 x 46cm. Courtesy: The artist

multi-artist project for APT8, Kalpa Vriksha: A Contemporary Indigenous and Vernacular Art of India features artists from indigenous or rural based communities in India, who extend practices that were ephemeral and transitory, or made for a context other than a museum. The project investigates how ancient techniques and subjects are still being employed in their individual practices, as well as how these have evolved and become an instrument to express contemporary concerns. Concentrating on a small group of younger generation artists, it incorporates narratives of spiritual and historical significance as well as of everyday life, through a range of painting and sculptural devices drawing on the traditions of Warli, Gond, Mithila, Kalighat, Patachitra painting and Rajwar sculpture.

‘Kalpa Vriksha’ is a Sanskrit term for a divine or wish-fulfilling tree. The attribution of spiritual significance to objects from the natural world is common across many cultures. Kalpa Vrikshas are mentioned in Sanskrit scriptures describing the creation of the earth, but the term is also applied to numerous actual trees in India, of different species depending on local belief systems. The Kalpa Vriksha’s capacity to transverse boundaries between the everyday and the mythical, ancient and contemporary, as well as its diverse geographical manifestations, is an appropriate metaphor for the art forms in the exhibition.

In the mid to late 20th century, many of these locally-specific art forms began to adapt as external interest and knowledge increased. Artists were given access to non-ephemeral materials and their art works shown to a broader audience in gallery or museum contexts. This development was facilitated by artist and curator Gond people are indigenous communities of of time existing on the same plane. Vangad’s Jagdish Swaminathan through his museum central India. Warli painting is rumoured to paintings address subjects from rural life, but Bharat Bhavan in Madhya Pradesh, established date back to 2,500 BCE, and was customarily also themes such as the effects of pollution in 1982, while government agencies encouraged made only by women on mud walls to on bio-diversity, and incorporate modern artists to produce decorative or domestic items record auspicious and ceremonial occasions. buildings, means of transport and other for sale, to enable poor communities to support Artists painted with rice paste, and used symbols of contemporary life. themselves. geometric forms and iconography to convey the significance of local landmarks, their daily The Gonds are one of the largest groups These art forms have only recently begun to lives and their beliefs. Balu Ladkya Dumada of indigenous peoples of India. Their enter into the larger discourse on contemporary and Rajesh Chaitya Vangad’s stunning, large artworks were based on songs and stories, art in India, rather than a museological, scale paintings further extend the Warli visual and characterised by animistic themes and ethnographic or anthropological one, although language. Dumada was the first student of intricate patterning. Gond painting has a there have been a few ground-breaking renowned painter Jivya Soma Mashe (one of more ambiguous origin than Warli painting, exhibitions by curators such as Jyotindra Jain, the first artists to use modern materials), and and is sometimes attributed to the innovation Gulammohammed Sheikh, and Chaitanya his The God appears in the form of a crane bird 2010 of artist Jangarh Singh Shyam (1962-2001), Sambrani since the late 1980’s. The Warli and illustrates a folk tale, with multiple dimensions who was the first Gond artist to transfer his

TAASA REVIEW VOLUME 24 NO.3 7 Bararsingha – mango Tree of Life, 2015, Pradyumna

Autobiography – local train, 2012, Kalam PATUA, West Bengal, India b.1962. KUMAR, Bihar, India b.1969. Ink on acid free paper, 61 x 45.7.

Watercolour on paper, 38 x 56cm. Courtesy: The artist Courtesy: The artist

mural works to paper and canvas. Venkat or patachitra, the scrolls were intimately There are few artists painting in the Kalighat Raman Singh Shyam is the nephew of the associated with itinerant storytelling and mode today, and Patua’s style is highly Jangarh Singh Shyam and he continues to song. Historically, pats were cloth scrolls unique. His autobiographical series focus on experiment with and extend the Gond motifs on which mythological or epic stories were scenes of his childhood, or the history of the and subjects. In 2008, Shyam witnessed the painted as a sequence of frames, and were postal system where he has worked for most of Mumbai terrorist attacks of that year at the carried from village to village with the artist his life. These beautifully painted works show Taj Hotel and created a series based on his slowly unrolling them frame by frame and the excitement and poetry of the post office in experiences. These works depart from the singing. This mobility has enabled the form Patua’s imagination; in one, love blossoms in stories with which he grew up, but Shyam to exist and expand, as Patua artists have the middle of sorting and stamping letters, in maintains that while they have a more continued to create scrolls addressing very another, a mail-runner from an earlier time is ‘contemporary’ appearance, they are also contemporary social issues and stories, and attacked by a leopard. related to traditional stories and nature. the scrolls are still used as a way to share news between villages. Traditionally Rajwar people created simple Pushpa Kumari was raised in the village geometric designs to decorate newly white- of Madhubani in the Mithila region by her There are six artists in the exhibition who washed and repaired houses for a post-harvest grandmother, Mahasundari Devi, a well-known paint themes and subjects from stories of local festival. A self-taught artist, Sonabai (c.1930- painter and one of the earliest Mithila artists to Bengal deities, ‘the plight of the girl child’, 2007) used similar materials of painted clay, gain recognition. Like Gond and Warli painting, the Asian tsunami, the Gujarati earthquake, but totally transformed the reliefs, revitalizing Mithila paintings were created as murals, the 9/11 attacks on the World Trade Centre, and building upon the customary practice to primarily for the internal walls and floors of and religious conflicts between Hindus and create colourful and vibrant figures of humans, dwellings. It was first ‘discovered’ in the 1930s Muslims. Although Chitrakar artists now animals, and nature and patterned decorative after a severe earthquake tore open buildings, use mill-made paper, the material process of screens and reliefs. She was kept in isolation exposing the beautiful painted walls inside. creating the scrolls begins with the extraction from the outside world for over 15 years and Linked with marriage and social ceremonies, of natural dyes from local flowers, leaves, created the sculptures in order to keep herself it has strong themes of sexuality and the union minerals and spices. Pats were traditionally and her young son entertained. When she was between male and female. Kumari draws on this created only by men, but now female artists finally permitted to re-enter the community, iconography to address contemporary historical have become some of the most prolific artists. the local villagers were amazed and inspired and social issues often relevant to women, such by her transformed house, which exists today as infanticide, dowry deaths, and sexuality. Her Kalam Patua was born into the Patua as a remote yet adored museum. Sonabai’s brother-in-law Pradyumna Kumar learnt from community of scroll makers in West Bengal, work was shown in APT3 in 1999. Kumari, and is one of a few emerging male but taught himself the Kalighat style of artists to practice this traditionally female art watercolour painting, which draws on For APT8, Sonabai’s son Daroga Ram and form. His works illustrate both contemporary conventions taken from scroll paintings and three artists who were trained or influenced and customary themes, from the sacred Mango miniature painting. It developed in the vicinity by her, have created a range of sculptural tree which was part of a pre-wedding ceremony, of the Kali temple in Kolkata in the mid-19th works, representing how this unique art form to problems of pollution. century, to illustrate the Hindu pantheon, has continued to grow, diversify, and inspire, and responded to topical social and political while remaining rooted in the community and In contrast to the often hidden Mithila works, events, as well as local gossip. Kalighat local materials. both Patachitra scrolls and its offshoot, painting was intended for a larger audience Kalighat painting, were created for a public and departs from the linear, narrative style Abigail Bernal is Assistant Curator, Contemporary audience. APT8 includes a group of vertical of the scrolls to focus on single scenes, with Asian and Pacific Art, Queensland Art Gallery / scrolls by the Chitrakar (‘picture-makers’) graphic, simplified forms and often satirical, Gallery of Modern Art. community in West Bengal. Known as pats social or autobiographical content.

8 TAASA REVIEW VOLUME 24 NO.3 UNDERGLAZED JOSEON PORCELAINS: THE CULTIVATION OF A KOREAN NEO-CONFUCIAN AESTHETIC

Penny Bailey

Dragon jar, Korea, 17th century, porcelain painted in underglaze iron. Collection of the National Museum of Korea

ollowing the toppling of Korea’s Goryeo F dynasty (918–1392), the nascent Joseon (1392–1910) state adopted the example of its closely allied Ming dynasty in China (1368– 1644) in installing Neo-Confucianism as the governing ideology. This shift away from Goryeo’s predominantly Buddhist worldview impelled dramatic changes in Korea’s social, political, and cultural spheres. In the arts, patronage moved from the monasteries to the imperial court, where early legislators commissioned objects conveying a sense of dynastic legitimacy, political authority and monarchic dignity (Kim 1993:35-36).

Accordingly, in the early years of the dynasty the elaborate ornamentation featured in many of Goryeo’s celebrated celadons (cheongja) was jettisoned in favour of the quieter elegance which characterises much of Joseon’s largest ceramic genre of white porcelains (baekja). Although initially baekja wares were produced of King Sejong (r.1418–1450). Joseon’s official the Neo-Confucian worldview. For example, only for the court, as Neo-Confucianism historiography, Joseon wangjo sillok (Annals of the Chinese motif ‘Three Friends of Winter’ gathered momentum their use spread to the the Joseon Dynasty), also documents the 1425 – comprised of the blossoming plum (purity scholarly (yangban) and commoner classes manufacture of a consignment of baekja wares and loftiness), bamboo (modesty and loyalty) (Kwon 2014:37). Extant objects in the diverse large enough to supply ten banquet tables and pine (steadfast courage) – was a popular canon range from everyday utensils and at the behest of China’s Emperor Hongxi commission among the Neo-Confucian literati accoutrements for the scholar’s study to (r.1424–1425) (Itoh 2000:28). for its association with scholarly perseverance the many ritual objects that accompanied and integrity (Mino 1991:32-33). Neo-Confucian birth, burial, marriage, and The subdued elegance of baekja wares was ancestor worship ceremonies. directly fuelled by Neo-Confucian orthodoxy, The advent of Joseon underglazing occurred as emphasis was placed on adopting aesthetic in the second half of the 15th century, when Like the earliest Goryeo celadons, which parameters reflecting the ideals of purity, potters began to embellish porcelain wares hewed closely to China’s Song dynasty (960– integrity, and moral pragmatism. Accordingly, with iron pigment in limited quantity. This 1279) prototypes, Joseon’s baekja tradition excessive colouring and embellishment technology was almost certainly imported derived from porcelains produced at China’s were generally considered antithetical to the from Song China, where it was used at several imperial Jingdezhen kilns in the Yuan (1271– ideology’s aims. No attempts were made from southern kilns in designs similar to those found 1368) and contemporaneous Ming dynasties. the mid-dynasty, for example, to emulate the on Goryeo celadon wares (Itoh 2000:69). The The establishment of the ‘ceramic route’ (the spectacular overglazed polychrome wares demand for iron-painted works was somewhat maritime equivalent of the ancient silk roads) produced in Qing China (1644–1911), despite the overshadowed, however, by the clamour for in the Song dynasty had not only helped to enthusiastic adoption of the technique in other cobalt-blue decorated wares, which came into open up new avenues of trade in the coveted Asian countries such as Japan and Vietnam. vogue after Chinese works were brought to the Chinese porcelains, but also facilitated the Joseon court by Ming envoys and Japanese and transfer of technologies that were crucial The preference for simplicity not only Ryukyuan travellers. for the foundation of the Korean porcelain sustained the preeminent position of industry in the early decades of the dynasty. undecorated white porcelains for the Chinese potters had attained the technical duration of this extraordinarily long dynasty, expertise to produce these high quality Many early baekja wares align so closely to but also prompted the Joseon potters to blue-and-white wares by the early 14th the exacting standards of the Yuan and Ming seek out understated modes of decoration century. The most sought after works were potters, in fact, that it is difficult to distinguish in the only pigments that could withstand produced at Jingdezhen, where the coveted them from works made at Jingdezhen. A the extreme temperatures required to ‘Mohammedan blue’ cobalt (so named number of contemporary documents attest fire porcelains – cobalt-blue (cheonghwa), because it was imported from the Middle East to their enormous popularity, including iron-brown (cheollhwa) and copper-red at double the price of gold) was employed the anthology Yongjae chonghwa by the (jinsa). Iconographical schemes range from in detailed designs to spectacular effect. scholar Song Hyeon (1439–1504), which sparsely rendered foliage to profusely Under the patronage of Emperor Xuande reveals that baekja wares were used to the patterned landscapes –justified by their rich (r.1426–1435), the wares reached a technical exclusion of all other ceramics in the court metaphorical meanings commensurate with and aesthetic excellence that is widely

TAASA REVIEW VOLUME 24 NO.3 9 Jar, Korea, first half of the 18th century. Porcelain painted in underglaze copper. Bevelled vase, Korea, first half of the 18th century. Porcelain painted

Collection of the National Museum of Korea in underglaze cobalt. Collection of the National Museum of Korea

considered the global pinnacle of the genre. obtaining any blue-and-white wares other among consumers. Although the demand for When problems at Jingdezhen between 1436 than wine cups. Although this restriction cobalt-decorated wares remained high, breaks and 1465 stymied production, however, the must have been enacted to secure the best in supply lines prompted potters to turn to coveted Ming wares became increasingly cobalt for palace use, officials were ultimately readily available iron-oxide to conjure dynamic, unobtainable in Korea (Deuchler 2006:7). unable to curtail the procurement of a wide uninhibited and naïve designs. The dragon range of cobalt-decorated wares among motifs of this period (symbolising the ultimate In response to the interruption in supply, yangban collectors (Deuchler 2006:7-8). power of imperial rule), for example, exhibit a the Annals indicate that under the reign vitality, humour and warmth that is not evident of King Sejo (r.1455–1468) Korean potters The chaos that ensued after the Japanese in the Ming-inspired versions produced earlier inaugurated their own blue-and-white (1592–1597) and Manchu incursions (1627 in the dynasty (Roberts & Brand 2000:86). tradition in emulation of the sophisticated and 1636), and then the fall of Ming China Chinese wares. Due to the prohibitive cost (1644) led to the nadir of the Joseon ceramic The 18th century was also a time of prosperity and difficulty in obtaining the Mohammedan industry. As Korea’s borders were all but and flourishing in the arts. In particular, King blue pigment, however, the court intensified closed to foreign contact, a heightened sense Yeongjo’s (r.1724–1776) accession to the throne efforts to locate a native source. In 1463, of patriotism imbued many facets of Joseon heralded an era of social rejuvenation which cobalt was finally discovered at Suncheon life. The artworks of this period reflect a lasted well into the 19th century. In porcelain in Jeolla Province, and a painted porcelain growing sophistication in conceptualisation production, one notable development was a vessel promptly dispatched to the monarch. and technique alongside a flowering sense of resurgence in the use of cobalt as supply lines However, as the local deposits failed to yield freedom and energy ignited by the resurgence were reopened. In spite of the court’s repeated sufficient quantities or the desired quality, the of interest in indigenous styles. efforts to maintain the exclusivity of cobalt- practice of importing from China continued, decorated wares, they quickly proliferated sustaining the position of cobalt wares as In porcelain production, potters enthusiastically through the social classes. A record dating luxury commodities. explored new forms, techniques, and decorative to 1711, for instance, indicates that blue-and- schemes, building a rich repertoire of works white wares had become so easily obtainable The Annals of the succeeding monarch, that was less reliant for patron approval on that they were found even in rural commoner King Yejong (r.1468–1469), contain detailed formulaic regularity or refinement than it was households (Kim 1993:56). records of the aspirations of the yangban on strong and dynamic expressions of the class to acquire these wares (Itoh 2000:109). quotidian. Concerns of previous generations In strong contrast to the exuberant underglaze Their quests were dampened, however, with such as uneven glaze coverage, and markings iron designs of the previous century, the the 1485 publication of Kyeongguk daejeon which were not the result of contrivance (such cobalt-painted iconography of this era depicts (The Great Code of Administration), which as those arising from the circulation of wood elegant landscapes, flowers, and foliage in prohibited ‘high and low officials’ from ash in the kiln) attained a newfound following thin, linear brushstrokes that accentuate the

10 TAASA REVIEW VOLUME 24 NO.3 Jar, Korea, 19th century. Porcelain painted in underglaze cobalt and copper. Collection of the National Museum of Korea

receptiveness to increased contact with Qing China, experiencing prolonged prosperity under the Emperor Qianlong (r.1736–1795). Although in general terms the potters of late Joseon avoided the earlier slavish imitation of Chinese wares, the resurgence of cultural importation from the continent reignited interest in Chinese aesthetic conventions, prompting yet another spike in demand for blue-and-white wares.

The simple foliage works of the middle period were subsumed by a more diverse and ornamental vocabulary which allowed the potters to explore vigorous new forms of decorative expression. Most notably, their advanced skills are artfully displayed in the rare porcelain works which simultaneously feature underglazed decoration in iron, cobalt and copper. The low success rate of firing all three pigments together led the potters to employ them more commonly in paired combinations of cobalt and iron or copper. This work, which features Korea’s indigenous ten longevity symbols in dextrously rendered cobalt and copper, attests to the accumulation of expertise acquired by the Joseon potters in their remarkable repertoire of underglazed porcelain ceramics.

Penny Bailey is a Korea Foundation Postdoctoral Research Fellow at The University of Queensland. Her doctoral thesis examined Mingei (Folk Craft) Movement founder Yanagi Soetsu’s research into Joseon dynasty ceramics during Korea’s colonial period (1910–1945). The author wishes to thank the Korea Foundation for its generous grant to conduct this research.

REFERENCES beauty and opacity of their white glazes. are no extant objects to corroborate this record. Deuchler, M, 2006. ‘Connoisseurs and Artisans: A Social View of Korean Culture’, in Yun Y & Krahl R. (eds.), Korean Art from Frequently featured on slightly asymmetrical Compared to cobalt- and iron-decorated the Gompertz and Other Collections in the Fitzwilliam Museum, bevelled vessels, the designs proved extremely wares, copper wares were produced on a Cambridge University Press, Cambridge, pp.3-11 popular among consumers of all social classes. much smaller scale due to the intractable Gompertz, GStGM., 1963. Korean Celadon and Other Wares of Their stylistic transformation away from the nature of the pigment, which was extremely the Koryo Period, Faber and Faber, London more complicated motifs of many earlier susceptible to atmospheric variations in Itoh, I., 2000. Korean Ceramics from the Museum of Oriental cobalt wares is thought to reflect the radical the kiln. In oxidised kilns (where oxygen is Ceramics, Osaka, The Metropolitan Museum of Art, New York changes taking place in the indigenous style of allowed to flow freely), copper converts to a Itoh, I. & Mino, Y. (eds.), 1991. The Radiance of Jade and the landscape depiction which became known as green or grey colour, or in extreme cases, may Clarity of Water: Korean Ceramics from the Ataka Collection, ‘true view’ painting (Itoh & Mino 1991:125-26). vaporise altogether. Even in the reduction Hudson Hills Press, New York The other notable advancement in porcelain kilns favoured by the Joseon potters (where Kim, H., 1993. ‘Exploring Eighteenth-Century Court Arts’, in Kim H (ed.), Korean Arts of the Eighteenth Century: Splendor and underglazing in the 18th century was the the flow of oxygen is restricted), copper Simplicity, Weatherhill, New York, pp.35–57 revival of underglazing in copper. While some runs or congeals into blotches of reddish- Kim, K., 2003. Goryeo Dynasty: Korea’s Age of Enlightenment, scholars maintain that the technology was first brown or black if the firing temperature is 918–1392, Asian Art Museum, San Francisco developed in China and then transferred to insufficient (Itoh 2000:133). This baekja jar is Kwon, S., 2014. ‘Ceramics and Ritual Vessels of the Royal the peninsula (Nakao & Koyama, cited in Itoh an excellent example of a successfully fired Household’, in Woo H (ed.), Treasures from Korea: Arts and Culture 2000:25), many believe that it was invented by work displaying the deep, elegant hue highly of the Joseon Dynasty, Philadelphia Museum of Art, Los Angeles, Goryeo potters around the mid-12th century, sought after by Joseon consumers. pp.36–43 antedating Chinese (Yuan) use by at least a Mino, Y., 1991. ‘Koryo and Choson Dynasty Ceramics’, in Itoh I century (Kim 2003:19; Mino 1991:29; Gompertz Towards the end of the Joseon period, the & Mino Y (eds.), The Radiance of Jade and the Clarity of Water: Korean Ceramics from the Ataka Collection, Art Institute of 1963:6-7). Although the technique was not arts were propelled by the enlightened rule Chicago, Chicago, pp.27–35 popularised until the 1700s, the earliest known of King Jeongjo (r.1776–1800), who enacted Roberts, C. & Brand, M. (eds.), 2000. Earth, Spirit, Fire: Korean Joseon use is in a set of epitaph plates dated various reforms to stimulate Joseon’s Neo- Masterpieces of the Choson Dynasty, Powerhouse Publishing, Sydney to 1684. Documentation in Joseon’s Annals Confucian development. Porcelain production actually points to much earlier use, but there was favourably impacted by his unusual

TAASA REVIEW VOLUME 24 NO.3 11 T

INDIGO: THE FASCINATION WITH BLUE

Margaret White

Black H'mong dressed in indigo dyed clothes,

Sapa, Vietnam, 1999. Photo: Margaret White

he quest for one of nature’s rarest colours, 18th century, fuelling the textile industries T indigo blue, once dubbed ‘blue gold’ of the Industrial Revolution. In 1900, the and perhaps the oldest known dye, led to economic value of indigo equalled that of all indigo being treasured as one of the world’s other dye stuffs made at that time. A process most valued commodities. Indeed, the story for manufacturing synthetic indigo was of indigo is a complex and fascinating one discovered in 1897 so that by 1910, synthetic linking virtually every known culture. indigo usage had soared and production of natural indigo dye had fallen by 90%. The word indigo, derived from the Greek term from India, refers to the fact that much Everything connected with indigo is of the indigo exports originated from that surrounded by immense curiosity and subcontinent. Indigo’s blue colouring may awe. Considering the skill, patience and be extracted from the leaves of hundreds complexities of dyeing with indigo- of species of the indigo plant, a perennial bearing plants, it is remarkable to find its growing in tropical, subtropical and temperate early use by diverse and geographically climates. Indigo cultivation probably existed separate civilizations (Balfour-Paul 2012:4). in the Indus Valley some 5000 years ago. From Throughout all pre-industrial cultures, the art at least the late 9th century, indigo spread of preparing the indigo and dyeing yarn was eastwards from India in the form of cotton an elevated and often secretive profession. goods to Southeast Asia and westwards Thanks to a specific series of chemical towards the Middle East. reactions which occur during processing, a substance called indoxyl is produced which indoxyl bearing scum forms at the top of the The discovery of a direct sea route from can be used both as a dyestuff for cloth or yarn tank. To maintain the vat’s alkalinity, it is ‘fed’ Europe to India in 1498 marked a crucial or a blue pigment for paints and inks. daily to keep the vat ‘alive’ for days or months turning point in the fortunes of indigo, for repeated dyeing. leading to increased European trade with To obtain the dye, composted and crushed India, China, Japan and the Indonesian Spice indigo leaves are covered with water and As soon as the liquid tastes ‘sweet’, smells Islands. British commercial cultivation and maintained at 25°C. After a few hours, the ‘right’ and is dark blue in colour, it is siphoned production of indigo began in the 16th century leaves and added organic materials begin into another vat at a lower level, leaving the in India and had become large scale by the to ferment. A thick layer of bubbles with an plant material behind. The solution is left to rest

Indigo dyed futon cover of crane and tortoise-symbols of longevity, kasuri, weft ikat resist techniques, Japan, early 20th c. Photo: Margaret White

12 TAASA REVIEW VOLUME 24 NO.3 indigo resist- dyed strip woven cotton bedcover,

Mali, Africa, Contemporary. Photo: Margaret White

from the dyers’ indigo pots with oaths and to avoid monks and newly pregnant or protective screens as physical and spiritual menstruating women in case their presence dangers are perceived. If a person dies, the affects the strength of the dye. This is dyers rush to cover their indigo vats. important as the production of the richest dye colours enhances a family’s prestige and In Lampung, Sumatra, indigo was one of processing the dye is often a family secret. the key dyes used on the famous ceremonial ship cloths or palepai. The boat motif, thought Among the Tai-Lao people living in northeast to represent the journey through life in Thailand (Esarn), the indigo dyer will ceremonies, reflects ancient beliefs. The only pass on her secrets after her intended full symbolism of the palepai is lost to the successor has performed an elaborate respect present generation but it has been suggested ceremony. The indigo-dyed ikat cloth known (in Balfour-Paul 2012:183) that the blue ship as mudmee produced here is subject to similar represents the earthly realm as opposed to the beliefs concerning the proximity of monks or sacred sphere of the red ship. The presence menstruating women (Maxwell 2003:145). and number of these cloths also indicates the rank of the local ruler. In Burma and Vietnam and along the southern borders of China, ethnic minorities such as According to legend, the women of Tenganan the Hmong and Miao continue the custom of in Bali weaving the protective, prestigious producing plain or embroidered indigo cloth, geringsing or double ikat cloth are not as well as indigo cloth patterned by hand- permitted to grow or dye with indigo because drawn, rice paste resist (laran). These textiles of the perceived spiritual and physical are intended to attract suitors by showcasing dangers. Thus, indigo is grown and provided women’s skills. by dyers from surrounding villages. Work in the village halts when these sacred cloths In Japan, indigo probably came from China are being woven. Interestingly, indigo is together with Buddhism by way of Korean over dyed with morinda red and the indigo artisans in the 5th century (Balfour-Paul component is completely hidden. This rich, 2012:94). Following the introduction of cotton red brown is said to resemble dried human and indigo cultivation, the importance and blood (Maxwell 2003:145). use of indigo increased during the Edo period and the insoluble indigo settles to the bottom (1603-1868). Simple, indigo-dyed cotton of the tank as a bluish paste. The water is then Maxwell (2003:144) also traces the secrecy that garments became ubiquitous in rural areas. drained away and the suspension filtered to still surrounds the use of indigo on the island Among the various domestic furnishings, remove impurities and to stop further enzymic of Savu. Two sisters, Greater Blossom (Hubi the futon cover was particularly prized. reaction. In many tropical and subtropical Ae) and Lesser Blossom (Hubi Iki), believed to They were usually made of indigo-dyed areas, it is this damp indigo paste that is used. be the ancestors of Savu’s matrilineal society, kasuri (ikat) cloth with designs symbolising It can also be dried to produce indigo ‘cake’ were about to receive the secret from their happiness and longevity. The Japanese also which is cut into cubes or formed into balls mother on how to obtain beautiful indigo slept under mosquito nets dyed blue, a colour making its transportation easier. blue. However, one sister hoping to cheat the soothing in itself and which was believed to other crept out to steal the fluid at the top of repel insects and snakes. The love for indigo Dyeing with natural indigo is still considered the pot without realising the active precipitate (ai) endures, with indigo growers and dyers the most difficult of all dye materials and lies at the bottom of the pot. It is believed that accorded status as National Living Treasures. yet it is the most versatile. Uniquely, indigo the thieving sister and her descendants could does not need a mordant to make the dye never match the intensity produced by the The high regard in the 21st century for indigo colourfast. Cotton, wool, silk or bast fibres other sister. dyeing as a living art is not just confined to are dipped into the indigo dye bath to soak traditional Southeast Asian or West African and upon being withdrawn the blue colour On the island of Sumba, where an unlucky communities but is shared by all those who develops on contact with oxygen in the air. death is also called a ‘blue death’, traditional admire the skill needed to obtain those burial rites were exceptionally elaborate. wonderful intense hues of blue. The symbolism and myth surrounding the Ritual demanded that a corpse should be use of natural indigo in the textiles of some wrapped in up to 100 indigo–dyed warp ikat Margaret White is a former President of the Friends traditional Southeast Asian and West African shrouds. In the west of the island, so heavy is of Museums, Singapore with a special interest in communities illuminates why the indigo the demand for these cloths that blue-handed Southeast Asian art. process remains an integral part of ritual, women are highly respected as this reflects identity and status today. Woven indigo their proficiency. A piglet is sacrificed before REFERENCES blue/black ulos feature as part of a complex the dyeing process begins and the term for Balfour- Paul, Jenny, 2012. Indigo: Egyptian Mummies to Blue Jeans, Firefly Books, British Museum, London system of gift exchanges at both weddings indigo dyeing and pregnancy are the same. Connors Mary F., 2001. Lao Textiles and Traditions, Images of and funerals of the Toba Batak of Sumatra. Asia, OUP These special, rectangular warp ikat patterned Supernatural beliefs concerning indigo also Maxwell, Robyn, 2003. Textiles of Southeast Asia Tradition, cloths signify a link between the wearer and remain in insular Southeast Asia. Mary Trade and Transformation, Periplus, Singapore the spirit world and are essential wear at Connors (2001:16) observed that Lao women ritual events. The spirits of the dead are kept work with dye in a corner of the village

TAASA REVIEW VOLUME 24 NO.3 13 THE HIDDEN TREASURES OF BUDDHIST KASHGAR

Marika Vicziany and Angelo Andrea Di Castro

Head of Buddha, 5th - 6th c., Tumshuk. Source: Härtel, Herbert and Yaldiz, M., 1982, Along the Ancient Silk Routes.

Central Asian Art from the West Berlin State Museums, The Metropolitan Museum of Art, New York.

uddhism was one of many religions B which were practised in the oasis of Kashgar. At the western crossroads of the southern and northern Silk Road between China, Central Asia and Europe, Kashgar was a multicultural society even during the time when its Buddhist monuments were built from around the 3rd to 9th century CE: it also included Zoroastrians, Hindus, Nestorian Christians (Syrian Church) and people following shamanism and animistic beliefs. This complexity must be kept in mind when discussing the Buddhist remains of Kashgar.

Whether Kashgar had a royal centre which, like Angkor in the 12th – 13th century under Jayavarman VII, was also Buddhist in nature, is not yet known. Certainly, the ruined monuments of Kashgar include forts and possible royal centres such as Khan-oi but we do not know when these were built or the religious preferences of the rulers.

Illustrated here is a gilded Tumshuk Buddha, found by German ‘Turfan’ Expeditions between 1905 and 1914. Tumshuk, thanks to the exploits of Albert von Le Coq, Pelliott and others, is well known by international art critics who since the early 20th century have admired the collection of artefacts and manuscripts in the misnamed ‘Turfan’ collection of the Museum of Asian Art in Berlin and in the Guimet Museum in Paris. Von Le Coq commented on this gilded Buddha head in his published report of 1922-1926 (vol. 1, Plate 42a, 28) and other authors published reports in the 1970s and 1980s. In other words, knowledge about the importance of Tumshuk has been well established for almost 100 years.

By contrast, it is ironic that appreciation of the cultural importance of Kashgar, less than 200 kms south of Tumshuk, is lacking. Our research re-positions Kashgar to the centre of Buddhist here, discovered at excavations on the Yawaluk in Kashgar (Qadir 2007, and interview in studies in western China, a place it deserves site 30 years ago. Known as the ‘Jar with Kashi, June 2014). Sogdian émigré communities despite the shocking neglect of the treasures of Three Handles’ it dates from the 6th century had been established in this area from the that oasis city. We would like to propose that and displays Sogdian stylistic elements. Kushan period (1st to 3rd centuries CE) and the serene, 11 cm long, 5th-6th century gilded The medallions decorating the midriff are the merchants who formed the core of these head of the Tumshuk Buddha provides an distinctively Persian or Bactrian in style and communities brought with them Buddhist example of the hidden treasures that could be speak to the exchange of goods, people, ideas monks (Vicziany and Di Castro, forthcoming found in Kashgar, if only Kasghar were to be and styles between Afghanistan/Persia, the 2015). From the 6th century these monks were systematically excavated and studied. Hindu Kush and Kashgar (Watt et al. 2004: followed by Manichaean preachers (de La 190-191). Vaissière 2011) who added another layer of The hidden treasures of Kashgar remain just complexity to the religious character of Kashgar. that – hidden or in a few cases only recently According to the former Director of the Kashgar discovered. An example of the sophisticated Museum who found the vase, its method of The jar was initially displayed in the local pottery of the Kashgar area is also illustrated construction is typical of the Buddhist period Kashgar museum but as its importance was

14 TAASA REVIEW VOLUME 24 NO.3 Jar with three handles and stamped decoration, Kashgar, Yawaluk site,

Sogdian, c. 6th century, 57 cm. Source: Watt et al. 2004 recognised it was relocated to the Xinjiang Museum in Urumqi a few years ago. International appreciation came in 2004-2005 when it was exhibited at the Metropolitan Museum of Art in New York (Watt et al. 2004: 190-191). Despite its significance and the possibility of finding more treasures of this quality, excavations of Dakiyanus/Yawaluk have been sporadic, very short, unsystematic and typically not driven by research objectives but attempts to salvage pieces of Kashgar’s past.

The last excavation in late 2000 lasted only 18 days. The current Yawaluk site, located on the right hand side of the National Highway 314 that crosses the Chakmak River, is part of the original site which was much larger and incorporated the site now called Dakiyanus on the left hand side of the highway on the road from Kashgar to Urumqi via the town of Artush some 43 kms to the north (Qadir 2007; Qadir 2014). Despite the limitations, Qadir and his team were able to confirm that the two sites on either side of Highway 314 belonged together, that both dated from between 200 and 800 CE, and that both reflected predominantly Buddhist characteristics displayed on many clay tablets, pottery pieces and birch bark manuscripts with Brahmi script.

On the basis of many temple decorations found on the western Dakiyanus side, they surmised that this was the location of a Buddhist temple and that the eastern side, characterised by many millstones, had a much longer history of settlement (Qadir 2014). A comparison between our own photos of the area and google satellite images with the maps drawn by the French explorer Paul Pelliott in 1906 highlights the extent to which modern infrastructure development has degraded the integrity of this site (Di Castro, Vicziany and Zhu, forthcoming 2015).

Despite its neglect, Kashgar may well and natural environment in which the relics Underground springs from the Tianshan and represent one of the major and earliest entry and monuments were located. In defining and Pamir mountains provided a gentler and points for Buddhist and other religious ideas dating the evidence about human settlement more regular supply of water to the rivers of into China. Other archaeological sites of patterns and water/land usage we have Kashgar and also facilitated the construction Xinjiang, strung along the northern-eastern also started to build a comparative model of what appear to be relatively uncomplicated route from Kashgar to Urumqi and Turfan showing how the challenges of Kashgar’s karez wells that were fed by underground are likely to have been reached much later, oasis environment differed from the monsoon water through capillary action. yet they have attracted the greatest amount of climates of Angkor, Bagan and Anuradhapura. excavation, research and conservation effort. In April 2013 and June 2014 we discovered We were inspired in this work by the the remnants of three lines of karez on the The objective of Monash University’s Kashgar comparative study of monsoon Southeast Asia outskirts of Kashgar with 48, 7 and 3 wells Research Project is to place Kashgar back into by Roland Fletcher (2012: 285-320). Our model respectively (Di Castro, Vicziany and Zhu, the centre of attention, as it once was when has allowed us to generate some hypotheses forthcoming 2015). None of these have been the British, Russians and Chinese fought to about the differences: while tanks and canals excavated or dated. Di Castro located the karez control this crossroad as part of the ‘Great in Kashgar remain an important feature of through a careful study of satellite images Game’ between 1813 and 1945. Our research rural and urban areas today, we have found which we then verified by ground inspection. goes beyond the traditional focus by European no evidence so far for the massive water When were these built and by whom? Are we and Chinese scholars on ancient texts and storage systems that defined the Buddhist looking at the remnants of a more extensive relics and seeks to reconstruct the total human sites of monsoon South and Southeast Asia. irrigation system from Buddhist times or

TAASA REVIEW VOLUME 24 NO.3 15 Satellite image showing old agricultural fields around the Mori Tim stupas with the dotted The two stupas at the Mori Tim site with a close up

line of karez running through the middle. The straight lines are old irrigation channels. view of one karez well. Photo: A.A. di Castro

were they built later? We found evidence and Di Castro, forthcoming 2015). How these Next to Mori Tim is a second stupa, some suggesting that the nearby Chakmak River people and facilities were distributed and 10.363 m high and between them the outline may have shifted no less than three times: the kind of economy that supported all this of other structures that had associated were these irrigation projects responding to activity remains unknown. There was also a purposes - perhaps residences, meditation these changes? If so, then historically the town large floating population of passing merchants, rooms, workshops or rooms for storing and of Kashgar may have also shifted three times. pilgrims, warriors and soldiers of fortune – all cooking food (Di Castro 2008: 263-269). By of which needed to be supported. comparison, the stupas of Anuradhapura from The Buddhist sites of Kashgar take the form 340 BCE onwards ranged from 10 to 106 m in of a disparate series of scattered stupas Kashgar’s Buddhist structures are seriously height, with the earliest stupa, Maha Saeya and monasteries that were most likely also eroded, covered by salty sands or destroyed (c.243 BCE) measuring 13.5 m (Coningham the focus of human settlements. From the as a result of a long history of continuous and Gunawardhana 2013: 465,14). monastery on Haizilaitimaomu Mountain invasion and warfare. There are no impressive near Upal in the southwest to the stupa of above ground structures of reflected royal or Topa Tim, another stupa located some 10 kms Mori Tim northeast of Kashgar is a distance of religious glory that we find in Angkor, Bagan to the south of Mori Tim, was re-discovered some 70 kms while some 40 kms separate the or Anuradhapura. None of this has dented our by Abdurëhim Qadir as recently as 2003 (Di site of Yawaluk/Dakiyanus in the northwest hypothesis that Kashgar was probably one Castro, Vicziany and Zhu, forthcoming 2015). from the grassy mound of the stupa of Topa of the earliest Buddhist sites of Central Asia Its circular base suggests that it could be the Tim in the east. Visible from Yawaluk/ and the possible entry point for Buddhism oldest stupa in this part of China and Central Dakiyanus is a fifth Buddhist site, namely the from the Indian sub-continent into the region. Asia but it is increasingly being compromised caves of the ‘Three Immortal Buddhas’ (Di Whatever impressive structures might have by agricultural and road developments. Castro, Vicziany and Zhu forthcoming 2015). existed here were pounded by men, horses, High resolution satellite images of the Topa No reliable dating of these five sites exists, donkeys and camels into the dry soils of an Tim area show that a new, wide road now so we cannot say whether they represent oasis civilisation fed by the glacial meltwaters passes between this stupa first described successive or co-terminal settlements. of the highest mountains in the world. by Stein and the nearby mound (probably Kasghar is also a region of many sandstorms the remains of a monastery) (Di Castro, The Chinese pilgrim Xuanzang visited and local legends speak of old cities covered Vicziany and Zhu, forthcoming 2015). During Kashgar in c.644-645 CE and reported that by the sands of the Taklamakan desert. our field observations in 2013 and 2014 we there were ‘several hundreds of Sangharamas’ photographed fragments of a stucco figurative or Buddhist settlements which probably Despite such hazards, the extant height of the frieze scattered on the disturbed ground. included temples, monasteries, gardens and Mori Tim stupa is 11.582 m (Di Castro 2008: cultivated areas. Certainly the soils adjacent 261). This is the most famous stupa in Kashgar, In addition to those sites defined by Buddhist to the Mori Tim site are very old, and it is here although it is also neglected. Unlike the structures, we have three ancient urban that the remains of karez are to be found. But Sunday market of Kashgar, it is not a favourite settlements in Kashgar - Shule some 20 kms again, without thorough scientific analysis of with visitors simply because they have no to the north of modern Kashgar, Khan-oi the soils and karez, we can say nothing about idea why it is important or where it stands. some 5 kms from Topa Tim and Eskishahar, the age of this material evidence. Taking into account the disintegrated top on the southern outer rim of modern Kashgar portion of the stupa and the missing umbrella (Di Castro, Vicziany and Zhu, forthcoming Xuanzang reported that the Sangharamas had (chattra) it would have originally been much 2015). Were these urban centres developed some ‘10,000 followers’ and specialist libraries higher, visible from a long distance because it sequentially or where they contemporaneous housing many Buddhist manuscripts (Vicziany sits on high land (Di Castro 2008: 261). and how, if at all, are they related to the

16 TAASA REVIEW VOLUME 24 NO.3 A fragment of stucco at the Topa Tim site showing its

size relative to a long marker pen. Photo: A.A. di Castro

tourism could make significant contributions REFERENCES to the economic prosperity and stability of Coningham, R. and Gunawardhana, P., 2013. Anuradhapura: Vol. III: The Hinterland, B.A.R. International Series 2568, Oxford this part of western China. However, a large de La Vaissière, É., 2011. ‘Sogdiana iii. History and Archaeology’, investment of effort and money is also needed in Encyclopaedia Iranica, http://www.iranicaonline.org/articles/ into scholarly research that can help Kashgar sogdiana-iii-history-and-archeology to reclaim its place in the cultural relations of Di Castro, A.A., Vicziany, M. and Zhu, Xuan (forthcoming 2015). China, Central, South and Southeast Asia. ‘The Evolution of the Kashgar oasis: the archaeological and environmental record’, in Peter Jia (ed.), From Cattle to Camel Trains: the development of the Silk Roads, The China Studies There is an urgent need to minimise the Centre, University of Sydney, Brill, Leiden

risk of missing this opportunity by too Di Castro, A.A., 2013. ‘Stupas and Wine: The Artistic Traditions of great a focus on the economics of trade and the Kashgar Oasis’, TAASA, Vol. 22, no. 4, 7-10. development. In working with Chinese and Di Castro, A. A., 2008. ‘The Mori Tim Stupa Complex in Kashgar Australian scholars, Monash University’s Oasis’, East and West, IsIAO, Rome, December, Vol. 58, nos. 1-4, 257-282 Buddhist sites? The scattered nature of these Kashgar Research Project hopes to contribute Fletcher Roland, 2012, ‘Low-density, agrarian-based urbanism: three urban areas and the five Buddhist sites to a balanced growth strategy in which cultural scale, power, and ecology’, in Michael E. Smith (ed.), The is certainly suggestive of what Fletcher has objectives are as important as economic ones. Comparative Archaeology of Complex Societies, Cambridge called ‘low-density, agrarian based urbanism’. Our methodologies are informed by the University Press, Cambridge However, without any dating or scientific latest approaches and technologies being Qadir, A. et al, 2007. ‘The 2000 Brief Report on the Excavation study, we cannot be sure. applied to the study of Angkor, Bagan and of Yawaluk, Kashgar’, Cultural Relics of Xinjiang, Vol. 67-68, nos. 3-4, pp. 54-57. English translation from Chinese by Monash Anuradhapura. Manuscripts and relics need to Kashgar Research Project

In the last few months Kashgar has become the be located within a broader understanding that Vicziany, M. and Di Castro, A. A. (forthcoming 2015), ‘The Kashgar focus of national and international attention pays careful attention to the dating, scientific Oasis: Reassessing the Historical Record’, in Peter Jia (ed.), From because it will form a critical part of the newly study and holistic analysis of human settlement Cattle to Camel Trains: The Development of the Silk Roads, The China Studies Centre, University of Sydney, Brill, Leiden. declared official Chinese infrastructure project patterns, water and land management practices Watt, James C Y et al., 2004. China: Dawn of a Golden Age, called ‘One Belt One Road’. This strategy seeks and the political-monastic environment that 200-750 A.D., The Metropolitan Museum of Art, New York. to rebuild the old ‘Silk Roads’ to reconnect gave rise to Buddhist Kashgar. China to its western and southern neighbours The Kashgar Research Project is seeking partners by land and sea. It provides an unprecedented Professor Marika Vicziany is the Director of Monash and collaborators from business, government, opportunity to document and preserve the University’s Kashgar Research Project and Dr Angelo museums and NGOs. Please contact: Buddhist heritage of Kashgar. Trade and Andrea Di Castro is the Deputy Director. [email protected]

TAASA REVIEW VOLUME 24 NO.3 17 THE AGA KHAN MUSEUM, TORONTO

Leigh Mackay

The Aga Khan Museum’s front façade with reflecting pool and part of the formal gardens. Photo: Imara Limited

evotees of Islamic art have been well D served over the past ten years with the opening or refurbishment of major collections on public display. London’s Victoria and Albert Museum re-opened its Islamic gallery in 2006 after major renovation, and two years later Qatar’s huge new Museum of Islamic Art opened in Doha. Copenhagen’s extensive C.L. David Islamic space was refurbished in 2009, and in 2012 New York’s Metropolitan Museum of Art opened its reorganised and renamed Islamic galleries. Later that year the Louvre in Paris unveiled a spacious two-level Islamic wing.

The latest showcase for the rich artistic heritage of the Islamic world is the Aga Khan Museum in Toronto, Canada, which opened in late 2014 in the city’s north east. The Museum wealthy Middle Eastern collectors began of fine Arabic script. We clearly see artistic and adjacent Ismaili Centre were financed snapping up the best material at international echoes of the cultures Islam interacted with, from the immense wealth of the Aga Khan, auctions, doubling, then trebling prices. It such as Roman mosaic tiling and floral the 49th Imam of the Nizari Ismailis, a Persian spans more than 1400 years across a range patterns of Chinese art. branch of a Shi’ia Muslim sect founded in of Muslim cultures: Spain, North Africa, the the 8th century CE; his followers call him Middle East and Turkey to Iran, Central Asia, The ceramic arts are represented by fine Iznik His Highness. The Museum catalogue says India and western China. Muslim Southeast ware, a white ground dish from Khorasan the Aga Khan chose Toronto because of its Asia barely appears; luckily we have Kuala with elongated Arabic calligraphy around the pluralistic social fabric and its proximity to Lumpur’s magnificent Museum of Islamic rim, lustreware and more. One exceptional the US border, providing an opportunity to Arts Malaysia in our neighbourhood. object is a 10th century dish from Nishapur reach a potential audience of millions. in eastern Iran. Almost 35 cm in diameter, it is The objects in the collection presumably dramatically decorated with wide splashes of The airy two-storey building was designed by reflect the tastes of the Aga Khan and family green, ochre and brown glazes over a white slip award-winning Japanese architect, Fumihiko members who collected them. Their focus background that has been incised with bands of Aki. It covers 4,730 sq m landscaped parkland, appears to be on the Arab Middle East and small curls or spirals. Intriguingly, the splashes complete with gardens, tree-lined pathways Iran, but Ottoman Turkey and Mughal India look partly random and partly controlled. In and a reflecting pool, all linking the building are also represented by choice pieces. her catalogue article, Ruba Kana’an, Head to the nearby Ismaili Centre. The main of Education and Scholarly Programs at the architectural theme is light - a metaphor for The Toronto offering is an ‘anthology’ rather Museum, notes that such splashware may have both Knowledge and The Divine, according to than a comprehensive survey, with several of the been influenced by imports from Tang dynasty the Museum catalogue, Pattern and Light. The pieces representing the pinnacle of Islamic art. China (618-907), as probably were Islamic blue- long outer walls are clad in white Brazilian There are ceramic and metal utensils, costumes and-white ceramics. granite that changes colour in different light and carpets, scientific and medical implements conditions. Internally, the building is suffused and texts, religious objects such as Qur’ans Amongst the rich variety of worked metal with indirect light from a central courtyard and mosque lamps, illustrated manuscripts items, mostly of brass or bronze alloys and walled with patterned glass and from lantern of folk tales and poetry. More finely-wrought inlaid with gold or silver, one item that stands windows in the ceiling. examples, such as illuminated manuscripts and out is a charming replica of a beggar’s bowl richly-ornamented brasses, glazed ceramics (kashkul) made of engraved brass. Dating The permanent collection occupies much of and ornate carpets (all represented here), were from mid-Safavid Iran (late 16th century), the extensive ground floor, along with meeting commissioned by ruling and merchant elites as this boat-shaped piece, with open-mouthed rooms, educational facilities, a spacious luxury goods denoting wealth and status. dragon heads at either end, symbolises the Sufi auditorium with a high dome that admits mystic’s renunciation of worldly possessions natural light, and an excellent restaurant. More than 100 items are on show, representing and reliance on alms for his existence. Ms The upper floor is devoted to temporary all the media that Muslim artisans used over Kana’an suggests it was used ceremonially in exhibitions and features a gallery overlooking the centuries, from wood, metal and ivory to a Sufi lodge. Inscribed along the rim in slanting much of the collection on the ground floor. glazed ceramics, glass and paint on paper. nastaliq script are allegorical Persian verses Decorative techniques include sometimes about the Prophet Muhammad, his son-in-law The collection was assembled by the Aga ingenious re-workings of geometric and Ali (revered by Shi’ites) and the ‘friends of Khan and his family, most of it long before arabesque patterns and profuse displays Allah’, which generally refers to Sufi mystics.

18 TAASA REVIEW VOLUME 24 NO.3 Qu’ran, copied by Ismai’l b. ‘abdallah, Makassar, Sulewesi Island, Indonesia, 1804. Ink, watercolour and

gold on paper. Folio 34.5x21.5 cm. Collection of the Aga Khan Museum. Photo:Gerald Friedli

The permanent collection is particularly strong on the arts of the book, especially those of the 15th century Timurid and 16th century Safavid schools. They include elaborately decorated Qur’ans, illuminated scientific and literary manuscripts, pages of graceful calligraphy and paintings on paper. They are displayed to allow sufficient light for close inspection while protecting them from fading.

The collection’s paintings on paper represent one of the largest assemblages of such works in private hands and was formed by the Aga Khan’s late uncle, Prince Sadruddin Aga Khan. He began buying pre-17th century Persian and Mughal miniatures at auction when they cost a pittance by today’s prices. They include 10 folios from one of the most famous of Persian manuscripts: a Shahnama (Book of Kings), the beloved epic by 11th century Persian poet Ferdausi, prepared in Tabriz around 1532 for the Safavid Shah Tahmasp I (1524-76). Experts estimate the original volume’s 248 painted images, exquisitely rendered in watercolours, ink, gold and silver, required more than a dozen miniaturist painters and at least two master calligraphers.

The intact volume was long owned by the Rothschild family in Paris, but was sold at auction in 1959 to American bibliophile, Arthur A. Houghton Jr. for US$259,000. He began breaking it up, donating many individual paintings to museums and selling others, including the 10 in the Aga Khan collection. These include the carefully composed illustration of an early episode of the Shahnama: Sindkht Brings Gifts to the Court of Sam. It features vibrant colours and finely drawn costumes, animals and plants. The remains of this Shahnama is now held in a Teheran museum, which quietly swapped a de Kooning painting for it. (See TAASA Review, Vol. 21, No. 1, March 2012, p. 26).

No Islamic collection is complete without fine, Beggar’s Bowl (Kashkul), Iran, late 16th century. Engraved brass. Length 61 cm. Collection of the Aga Khan Museum. hand-illuminated Qur’ans, especially those Photo:Sean Weaver made in the early years of the faith, or under the artistic flowering of the Ottoman, Safavid and Mughal dynasties. Rulers and wealthy leather or stiffened board and individual Royal Ontario Museum (ROM) and the patrons commissioned and distributed these pages were often elegantly decorated with Textile Museum of Canada, with its display sumptuously decorated and bound Qur’ans geometric and arabesque designs in gold and of Islamic carpets. The addition of the Aga to mosques as acts of piety. The Museum coloured inks. A particularly fine example Khan Museum has significantly sharpened displays several complete volumes as well as of the later Qur’ans in the collection is one the city’s intercultural profile. individual folios. copied and decorated in formal style in 1804 on the island of Sulawesi, Indonesia. As well Leigh Mackay holds a Masters in Islamic Studies, has A number of folios, copied on parchment as twisting frames around the text, the pages lived in Iran and Indonesia and travelled widely in in elongated Kufic script without have marginal markers of various shapes that other Muslim lands. He has long been an enthusiast embellishment, typify the Qur’ans prepared indicate interesting points in the text, and of the arts of Islam and is currently President of the within a few hundred years of the Prophet’s copious marginalia in fine script explaining Oriental Rug Society of NSW. death. By the 11th century, parchment had recitation, interpretation and grammar. given way to paper (made from pulped Toronto already boasted a commendable rags) and Kufic to other scripts. Bindings of collection of Islamic and Asian art in its

TAASA REVIEW VOLUME 24 NO.3 19 MODERN ART OF SOUTHEAST ASIA AT THE NATIONAL GALLERY SINGAPORE

Phoebe Scott

National Gallery Singapore Façade, 2015. Photo courtesy of Ministry of Culture, Community and Youth, Singapore

he National Gallery Singapore will open T its doors to the public in November this year. It will provide two dedicated permanent exhibition spaces, one for the art of Singapore and the other of Southeast Asia, from the 19th century to the present day, as well as a number of temporary exhibition spaces.

While national galleries throughout Southeast Asia have important collections of their own country’s modern artworks, National Gallery Singapore will be significant for offering a permanent regional platform where the art histories of these countries can be viewed side by side, uncovering new relationships and leading to new avenues for exhibition and research. As a curator in the Southeast Asia team of this institution since 2012, I have had the opportunity to participate in The UOB Southeast Asia Gallery, which will This section of the exhibition is partly housed the development of the opening exhibition occupy the former Supreme Court building, in a former courtroom, one of the few spaces in for the UOB Southeast Asia Gallery, as well is housed almost entirely in historic spaces the gallery in which the original fixtures – such as being able to witness the transformation of which retain much of their former character. as the prisoner’s dock, barrister’s tables and the physical space of the building. The curatorial team has worked to align, as judge’s bench – have been entirely preserved. far as possible, the architectural spaces with The formality of this setting enhances the The National Gallery is housed in two historic the artwork to be displayed. This gallery curatorial themes of authority, representation buildings: City Hall (completed in 1929), and is conceived as a permanent space for the and exchange. The challenge for designers former Supreme Court buildings (completed display of Southeast Asian art, and the and curators was to integrate showcases into in 1939). While both buildings have had an opening exhibition will remain substantially the room’s existing structure without making important civic and historical significance in place for five years. The curatorial narrative permanent alterations: a challenge that led to for Singapore, the City Hall building is also for the inaugural hang in this space takes a some ingenious physical solutions, such as notable in world history as the site where chronological approach, grouping art from the insertion of showcases into the existing Admiral Lord Louis Mountbatten formally the different countries of Southeast Asia bookshelves (which once housed legal accepted the surrender of Japanese forces together, to facilitate the exploration of both volumes) and a clamping system to position on behalf of the Allies on 12 September 1945 parallel experiences and disparities. showcases atop the existing benches. concluding the Japanese Occupation of Southeast Asia. To house the new National Each of the broad time periods has also The curatorial narrative then moves to art Gallery Singapore, these two historic buildings been loosely identified with a theme, which made between 1900s and 1940s, highlighting were extensively renovated to be functional attempts to highlight the major impulse the period in which art academies, as well as gallery spaces, and were also integrated into a toward art-making in the region at that time. informal structures like exhibiting societies, single building through the use of link bridges, Thus, the section pertaining to 19th and early were first established in the region. Examples a shared atrium and basement space. 20th century art in Southeast Asia is themed as of the synthesizing stylistic currents which Authority and Anxiety, and explores the role of emerged in Hanoi and in Bali in the 1920s and The architectural design for the conversion art production in asserting cultural authority 1930s are featured here. At the same time, this was the work of Studio Milou Architecture, in a period of social instability, brought about period ushered in the beginnings of a reaction France, and CPG Consultants, Singapore, by the widespread colonization of the region to academic training and practice. Artists who were announced as the winners of an in that period. Artists from Southeast Asia like Hendra Gunawan and Victorio Edades, international architectural design competition who studied in European art centres in the who contested the dominance of academic in 2008. Whilst some of the interior spaces 19th century, such as Raden Saleh (c. 1811 – painting in their respective homelands of were substantially remodelled, others preserve 1880, Indonesia) and Juan Luna (1857 – 1899, Indonesia and the Philippines, are among the the existing spatial and architectural quality Philippines) will be among the artists featured artists featured in this space. where original fittings, finishes and ornaments in this section. This section also acknowledges will remain visible in the gallery spaces. The the protean character of art at that time, The next series of galleries house the bulk of layering of exhibition spaces into the historic which cannot be confined to the Eurocentric the Southeast Asia collection, with artwork architecture of the National Gallery has been a categories of ‘fine art’ like painting and from the 1950s to 1970s. These galleries offer challenge, not only for curators but also for the sculpture, but overlaps with a wider domain different perspectives on the art produced architects and exhibition designers who have of practice including craft, map-making, during the decades of decolonization, from been engaged throughout the process. photography and draftsmanship. the impetus to document the suffering of the

20 TAASA REVIEW VOLUME 24 NO.3 Landscape of Vietnam c. 1940, Nguyen Gia Tri (b. 1908,

Vietnam; d. 1993, Vietnam). Lacquer on board. Collection

of National Gallery Singapore, image courtesy of the Newly-built atrium connecting the City Hall and former Supreme Court buildings, 2015.

National Heritage Board. Photo courtesy National Gallery Singapore

Japanese occupation and various anti-colonial rebellions, to the desire to connect with global artistic trends like abstraction. The polarized dynamics of the Cold War period are also evident in the divergent artistic directions represented in these galleries.

The final section of the UOB Southeast Asia Gallery presents works from the 1970s to the early 2000s, documenting artists’ turn against conventional and academic definitions of the ‘art object’, as well as new social commitments, as artists used their work to unpack gender, class, ethnic and institutional biases. The Southeast Asia narrative concludes with the current global moment, where contemporary artists work in an increasingly we will be able to display some important Asia. It is hoped that this exhibition, along internationalised art world. long-term loans in the inaugural exhibition. with the displays in the permanent galleries, will inspire a new sense of excitement about The collection of the National Gallery Aside from the two permanent galleries the modern art of the region, and act as a Singapore is in large part an inheritance from dedicated to art in Singapore and Southeast prompt for further research and exploration. the existing Singapore National Collection, Asia respectively, the changing exhibitions which has been actively collecting the of the Gallery aim to bring modern and The UOB Southeast Asia Gallery will be open modern art of the region for some time. Of contemporary art from outside Southeast Asia to the public from 24 November, 2015. As well particular importance is the role of Singapore into dialogue with the art of the region. The as the contribution by academics, scholars and Art Museum which from its very opening first major international exhibition will be co- curators from outside the Gallery, I would like exhibition in 1996 – Modernity and Beyond: curated with France’s Centre Pompidou. to acknowledge the work of the current team of Themes in Southeast Asian Art – declared a curators working on the opening exhibition of regional orientation. Singapore Art Museum This exhibition aspires to reframe the history the Southeast Asia Gallery: Lisa Horikawa, Syed will not be displaced by the National Gallery, of modernist painting. Rather than working Muhammad Hafiz, Clarissa Chikiamco and Adele but will continue to develop its focus on from the idea of ‘influence’ or using art- Tan, under the direction of Low Sze Wee. The Southeast Asia through emerging and historical movements and terms that stem collaborative exhibition with Centre Pompidou contemporary artists. from a Western context, the exhibition will will be opening in 2016. draw connections between the formal, National Gallery Singapore curators have conceptual and social preoccupations of Phoebe Scott is currently a curator at the National also been making new acquisitions to deepen European and Southeast Asian modern Gallery Singapore. Previously, she completed her PhD the collection’s holdings. At the same time, painters, exploring how shared concerns were at the University of Sydney on the subject of modern the Gallery has relied on collaborations manifested in different local contexts. Small Vietnamese art. with other national museums and private bodies of work (on average five artworks collections across Southeast Asia to access each) from artists in the collection of Centre many key works of Southeast Asian modern Pompidou will be showcased alongside art. Through the support of regional partners, bodies of work from artists from Southeast

TAASA REVIEW VOLUME 24 NO.3 21 COLLECTOR’S CHOICE: TWO TIBETAN TSAKLI

Boris Kaspiev

Two tsakli, Tibet, 13th - 14th century. Mineral pigment on card, script on reverse. Courtesy: Boris Kaspiev Collection

hile much has been published about W the thangkas of the Himalayan region, tsakli have received less attention. Tsakli are the small ritual paintings most commonly associated with Tibet, although they originate from and are (or were) used throughout the Himalayan region.

Tsakli are used in initiation and evocation rituals, and Bardo ceremonies associated with progressing from death through transitional stages to the afterlife. They are painted in mineral pigments on card or primed cloth, and usually have script on the reverse which may indicate the ritual for which the tsakli is used, the name of the deity or image depicted, the placement of the tsakli when the cards are laid out as a mandala, or the number of the card in the set. They also frequently show some of the words to be spoken by the officiant at that part of the ritual. As tsakli are small and portable, they sometimes depict ritual items (such as a flayed elephant skin) which a lama may need but which are not easily obtainable often been detached from their banners, one represents) He who is known as ‘The One or transported. can frequently see the supports and stitching who is Non-Diverse [in his practice] and on the tsakli that show us how it was used. Whose Prayers are All-Accomplishing’ and Tsakli are sometimes confused with miniature whose secret name is ‘Suppressor of Demons’. thangkas and consecration paintings. Like the The two tsakli illustrated can be dated to the Homage to Him!” larger paintings, miniature thangkas depict 13th to 14th century on account of their style, a central deity or symbol surrounded by a the orthography of the text on reverse, and The text to the reverse of the figure in the hierarchy of other figures, whether protectors their similarity to other published examples, yellow cloak reads: “This figure represents the or those relating to the lineage of the thangka. in this case from the collection of Gerry Virtue Great Acarya (spiritual master) ‘Master of the Miniature thangkas were often housed in a gau (Pal/Meech-Pekarik 1988:160, 162 and Virtue Phurba’ and whose secret name is ‘Sprouting (portable shrine) and when not being carried 2003:14-15). These two tsakli are from a much Shoot of the Letter Ho’. Homage to Him.” by their owner, were placed on a domestic larger set and while none have been published, (Templeman 2006). altar. Consecration paintings are usually others from the set have appeared on the small (postage-stamp size) and were placed market from time to time. The two featured are What makes such tsakli elusive is that the within stupas or bronze figures as a part of numbered 27 and 30 and depict Bon masters. meaning of such images and text cannot their consecration (Leonov 1992: 100-109). Bon is a Tibetan religious tradition that traces be fully realised without a spiritual guide While a tsakli usually depicts a single subject, its history back to pre-Buddhist practices. or teacher (Kerin 2009: 90). However, these it does not stand on its own like a thangka, and While Bon has absorbed many Buddhist jewel-like miniatures can be appreciated on ritually forms part of a larger set. practices and doctrines (and to some extent many levels and reveal a lesser known aspect vice versa), practitioners consider it to be of Himalayan culture. Most of the tsakli we see are from dispersed distinctly different (Powers and Templeman sets. While we can tell whether tsakli belong 2012:100). Boris Kaspiev is a collector of Himalayan art. to the same set through their style, subject matter, composition, the text on the reverse, or In these tsakli, the figure in the white cloak is REFERENCES the consistent marks of wear where a lama has holding a shang, or Bon ritual bell; the figure Kerin, M., 2009. Artful Beneficence. Rubin Museum of Art, New York handled them over many years in the same in the yellow cloak is holding in his right Leonov, G., 1992. The Rite of Consecration in Tibetan Buddhism, Arts of Asia September-October 1992, way, we also have to be aware that damaged hand a kundika (water sprinkler) used for tsakli were repaired or replaced. Repair may purification, and aphurba (triple-bladed ritual Pal, P. and Meech-Pekarik, J., 1988. Buddhist Book Illuminations. Ravi Kumar, New York include gluing a new backing to the tsakli, or dagger) in his left. The style of their headwear Powers, J., and Templeman, D., 2012. Historical Dictionary of entirely copying a worn card with one painted is one found in similar tsakli from Mustang, a Tibet. Scarecrow Press, UK on different material by a different artist. Tibetan cultural area in northern Nepal. Templeman, D., 2006. Personal correspondence.

Virtue, G., 2003. TAASA Review, Vol 12 No 1 March 2003 Tsakli were also attached to textile banners The text to the reverse of the tsakli of the for display in temples. While tsakli have now figure in the white cloak reads: “(This figure

22 TAASA REVIEW VOLUME 24 NO.3 TAASA REVIEW VOLUME 24 NO.3 23 STATE OF PLAY AND CONTEMPORARY CHINESE ART AT THE WHITE RABBIT GALLERY, SYDNEY

Sabrina Snow

Never Grow Up No.1, 2008, Yu Xiao, China. Chromogenic colour print, 100x100cm. White Rabbit Collection

tate of Play is the latest exhibition of S Chinese contemporary art this year to be showcased from the White Rabbit collection. It is the 13th in a series of exhibitions held since the White Rabbit Gallery opened in 2009, all of which have been highly successful in engaging the Sydney public’s interest in the challenging social and other issues inspiring Chinese artists today.

The collection has focused on works from the post 2000 period, a time following on from the art of political satire of Mao Pop and Cynical Realism of the 80s and 90s. The White Rabbit’s acquisition policy concentrates on sourcing works from artists, often young and unknown, who offer new and vibrant interpretations of contemporary China. When the Director, Judith Nielson, opened her private gallery, her stated aim was to show a different side of contemporary Chinese life to the Australian public and to showcase artists who might not be seen in the West. The works of artists sought out by the White Rabbit Gallery reflect an explosive creative energy, at once humorous and poignant, uniquely unconstrained and imaginative, daring and ambitious.

The choice of name for the Gallery - ‘White confronted with a bed, at once pink and pretty The post-Mao era produced a wave of creative Rabbit’ - reflects the Gallery’s curatorial and yet sinister and aggressive, even phallic. freedom which left artists searching for a new philosophy. Like Lewis Carroll’s Alice in Beauty is superficial, therefore ‘wicked sense of direction and identity. Many artists, Wonderland, Chinese contemporary art is often and decadent’, yet we cling to its imagined such as those represented in State of Play, turn not what it seems: its inner significance not promise because we prefer it to the ugly truth. to the realm of the self, of fantasy, dreams and always obvious, its meaning often subtle. A idealism to find this. They flirt with creative number of the Gallery’s past exhibitions, such The works in the show Reformation (2014) experimentation on many levels, reflecting on as Beyond the Frame (2011), Down the Rabbit Hole may have been inspired by everything from imagination, often working from memories (2012) and Double Take (2012) work on this sense Daoism and calligraphy to global issues of of childhood innocence and adolescent of fantasy. In Beyond the Frame, the work Calm commerce, urban decay, and religion, but the anxieties, sometimes engaging in ambiguous by the Madeln art collective seems at first to be critic Luise Guest has called it “A Chinese adult games of sexuality and pretense. just a room sized pile of rubble – only after long Dream”. Her comment refers particularly to Underpinning these flights of imagination and close scrutiny does it appear to be gently, the video work by Yi Lian called Undercurrent, and nostalgia is often a sense of unease, a very gently, rising and falling, undulating, or where a child sleepwalks through a night sinister undercurrent. Many of these artists even ‘breathing’. What we expect to see is not landscape. Sleepwalking is a metaphor for grapple with their past to make sense of their always what we do see. living in today’s China, where everything is modern lives and its many contradictions, changing and developing so fast that, like for determining meaning for themselves as their In Down the Rabbit Hole, Ai Wei Wei’s 500 kg Alice in Wonderland, the world you see when sense of self is squeezed between the values of pile of tiny sunflower seeds look deceptively you wake up is not the world you knew when a childhood in a China in transition, and those ordinary, yet a close look reveals each seed you fell asleep. of modernity in a globalised world. has been hand formed from clay and fired into porcelain. The mound of seeds is also a Life in China today reflects the turbulence Yu Xiao, in her work Never Grow Up no.1, metaphor for the Chinese people: a huge mass of the modern globalised world and all provides a refreshing analysis of the interaction in which individual identity is concealed. In its preoccupations with materialism and of herself as adult woman with her nostalgic the most recent State of Play exhibition, Liang individualism. The works at the White memory of childhood. Her photo-shopped Tao’s work Luofu Dream: Pink, Pink ventures Rabbit reflect the struggle of contemporary self-portrait with glossy lips and made up into overt suggestive fantasy which holds a Chinese artists to find a new role in a country eyes, emphasises an adult idealisation of the double meaning. The viewer has to come to recently free from rigid socialist constraints of carefree beauty of childhood, yet it contrasts terms with preconditioned responses when authority and collective living. with the dark ominous skies, which suggest a

24 TAASA REVIEW VOLUME 24 NO.3 Dahlias, 2014, Dong Wensheng. Hand coloured gelatin Cigarette Ash Landscape, 2013, Yang Yongliang, China. Pigmented inkjet prints, cardboard,

silver print, 80x68cm. White Rabbit Collection paper, wire, polyurethane foam, cigarette, 507x43x43cm, base 250x250cm. White Rabbit Collection

sense of anxiety about the future. The little girl seems stripped of her dreams before they even happen. Bu Hua’s Beauty No.3, on the other hand, which shows a little girl smoking, brash and vivid in the cartoon-like inkjet green and simple outlines, confers a simple message: life is harsh, it has to be faced head on with all its contradictions – in all its yin and yang.

In the 2013 show Serve The People, first used as a Communist party propaganda exhortation by Mao at the 1942 Yan’an Forum, its curator Edmund Capon proposes that artists of today ‘serve the people’ by “liberating their spirits and giving shape to their anxieties, confusion mountain peaks and winding rivers where the who represents the fight of good against and ambitions”. He chooses three threads to enlightened scholar communes with nature, he evil, eternal wisdom against earthly delusion unite the works in his show - fear, anarchy portrays layers of high rise apartment blocks and ignorance. The man and woman are and hope. The pain and fear of the past, the furled into a cigarette-like coil disintegrating rendered bare and vulnerable; they are but bit anarchy and destruction often inherent in downwards into a pile of ugly sterile ash. The parts and transients in the greater scheme of change, the hope and optimism for the new implications are obvious – in China people transcendental existence China - these themes also permeate many are destroying not only nature’s beauty with White Rabbit shows, yet a delightful sense of urban degradation, but killing themselves State of Play pursues themes evident in past the ridiculous, characteristic of contemporary through addiction to nicotine. In its starkness shows at White Rabbit, such as that of identity Chinese art, so often enliven them. and balance of shades and shapes, this work in the turbulent world of China today, of urban has a haunting, reverberating beauty. decay, materialism, sexuality, and they are The meaning of tradition is re-visited in works in interpreted with a characteristic Chinese sense of the Gallery which refer to scholarly ink painting Despite the confrontational aspect of many humour and imagination. However the artists in and the traditional format of ink landscapes. In of these works, the viewer is struck by their this show play unique artistic games exploiting the context of the show Smash Palace (2013), undercurrent of experimental playfulness. the tensions between the bright side of play which echoes Mao’s exhortation to “Smash In State Of Play, Dong Wen Sheng’s Dahlias and its undercurrent of anxiety and discord; the Four Olds” – customs, culture, habits and and Mayflowers, and Yang Yongliang’s between the individual and the collective; ideas – the ‘smashing’ taking place now relates Cigarette Ash Landscape provide witty and between tradition and modernity. They do so to the dramatic and fast changes being brought clever references to traditional and scholarly with a lively sense of experimentation in style about by globalisation and modernisation. In artistic values, reinterpreted with a modern and media and technical accomplishment. State Yang Yongliang’s Infinite Landscape, a digital psychological orientation. In Dahlias and of Play takes its place in a long line of exhibitions animation in the traditional form of a vertical Mayflowers, a naked man and woman are at White Rabbit reflecting the inherent energy mountain and water landscape, the mountains shown with flower pots transcribed with in the constantly evolving creativity of Chinese are in fact piles of skyscrapers, and freeways poetry and painted landscapes sprouting contemporary art. criss-cross the image. from their heads. These inscriptions conjure up the traditional Chinese artistic symbolism Sabrina Snow has an MA in Asian Art History and a In State of Play, Yang Yongliang presents for nature’s bounty, the beauty of spring and longstanding interest in Chinese art. She was formerly an inverted perspective in Cigarette Ash the promise of good fortune; the man’s tattoo a guide and VisAsia coordinator at the AGNSW and a Landscape: instead of an uplifting vision of suggests a Buddhist tantric deity, Vajrakala, member of the TAASA Management Committee.

TAASA REVIEW VOLUME 24 NO.3 25 BOOK REVIEW: BUDDHIST ART OF MYANMAR

Charlotte Galloway

Inscriptions and Chronicles (U Tun Aung presents an engaging narrative connecting the Chain), Buddhism and its Practice in Myanmar art of Pagan with India and other neighbouring (Patrick Pranke), Myanmar in the Outside countries. Fraser-Lu, an expert in Burmese arts World (Jacques Leider), The Buddha’s Smile: and crafts, manages to condense the following art of the first millennium, (Robert Brown and 700 years of history into a short essay that again Donald Stadtner), Ancient Pagan: a plain of gives us an understanding of the complexity of merit (Donald Stadtner), After Pagan; The art Burma’s history and how this impacts on its of Myanmar (Sylvia Fraser-Lu), Buddhist image visual cultures. replication in Myanmar(Adrian Proser), Art Power and Merit: the veneration of Buddha images Proser and Tan address aspects of Buddhist Buddhist Art of Myanmar in Myanmar Museums (Heidi Tan). Stadtner practice related to Buddha images. Proser’s Sylvia Fraser-Lu and Donald Stadtner (eds) brings his expert knowledge and previous insight into replicated images helps us Yale University Press, 2015 publications to bear in his contributing appreciate why some temples have literally RRP USD65, paper over board, 272p, chapters, the foundation myths contextualise hundreds of Buddha figures of the same colour illustrations some of the more unusual imagery we find in type. Likewise, Tan puts Buddhist imagery Myanmar and reinforces the important role of in a contemporary cultural context that In February 2015 the exhibition Buddhist Art of narrative and legends. helps explain their role and purpose, with a Myanmar opened at the Asia Society Museum particular focus on pagoda museums. in New York. With loans from Myanmar and I was particularly drawn to Leider’s private and public collections in America, this contribution which addresses issues The objects selected offer a snapshot of was the first major exhibition in the USA to associated with Myanmar historiography. Myanmar’s Buddhist art history across most focus solely on Burmese art. Curated by well- He draws attention to the often unfavourable media (stone, wood, cloth, paper, metal, known researchers of Myanmar art history, colonial reports of Myanmar affairs, which lacquer, terracotta). The image quality is Sylvia Fraser-Lu and Donald Stadtner, both portrayed the country as an inward looking excellent. I query some of the dating, such as co-edited this accompanying publication. nation with little interest in engagement with an 11th century date for a Pagan period image the rest of the world. This inaccurate picture (cat.14) when the text suggests otherwise, and This is more than a catalogue, offering ten was perpetuated during the 20th century and other images of similar style are 11th-12th short informative essays followed by 71 full still appears in populist reporting on Burma century (cat.15). Dating of Buddhist imagery page colour images of works with facing affairs. We are usually told that the Burmese from the Pyu cities and Bagan is still without text, and the whole stands well outside of the court’s inability to negotiate with the British consensus and broader date ranges would be exhibition context. Fraser-Lu and Stadtner was a result of their isolation. Focussing on more consistent. I am being pedantic here, have selected topics that allow the reader to China, Leider very clearly communicates and this is merely a reflection of how much gain a sense of the complexities of Burmese Myanmar’s successful and complex we still have to discover about Myanmar culture beyond simply an art historical frame. ‘international relations’ skills leading up to and its history. While some may criticise the the colonial period and proffers a much more seemingly random selection of works, I stress Fraser-Lu and Stadtner open with an nuanced scenario than that perpetuated in that Burmese art is simply like that. I also introduction to Myanmar’s history and colonial histories. appreciate that the curators were limited in archaeology. Very useful in providing context their selections. for what follows, it is a shame that mention It was a little disappointing to see in Stadtner isn’t made of the successful UNESCO listing and Brown’s essay that the myth that the Pyu Buddhist art in Myanmar is an excellent addition of the Pyu Ancient Cities in June 2014, though were unknown until archaeologists unearthed to the corpus of Myanmar art publications. I note the publication may have already been material at Sri Ksetra in 1900s continues. This The essays are intelligently written with in press. There are a couple of inaccuracies: chapter contains information that is already an educated audience in mind and clearly the text suggests the first director of the superseded or open to question in the light voice the experience and knowledge of all Archaeological Survey of Burma, founded in of research undertaken in the last 12 months. authors. Each essay has endnotes, and the 1902, was Emil Forchhammer who died in One example is the dating of Sri Ksetra, accompanying maps, chronology, glossary 1890. Forchhammer was the Archaeological with confirmed archaeological dating now and bibliography serve as strong reference Survey of India’s first head of archaeology indicating the city was developing in the 2nd sources. I hope this signals the start of further in Myanmar, appointed in 1881. Gordon century, not the 6th-7th as stated. The dating publications that explore this fascinating Luce is noted as a founder of the Burma of Pyu burial urns is also being questioned country’s rich visual culture. Research Society in 1910, though according as epigraphists revisit assumptions made by to bibliographic sources this pre-dates his earlier scholars. These changes do not detract Charlotte Galloway is a Lecturer in Asian Art History graduation from Cambridge and travel to from the text, rather they serve to highlight and Curatorial Studies at the Centre for Art History Burma in 1912. how quickly things are changing in Myanmar. and Art Theory at the Australian National University, specialising in the art of Burma. Essays cover the topics Foundation Myths Stadtner’s expertise in Indian and Burmese art (Patrick Pranke and Donald Stadtner), come to the fore when discussing Pagan and he

26 TAASA REVIEW VOLUME 24 NO.3 INTRODUCING DR STEPHEN WHITEMAN, LECTURER IN ASIAN ART HISTORY, SYDNEY UNIVERSITY

Josefa Green

met Stephen Whiteman at his Sydney one particular garden in the Kangxi era, I University office to discuss his scholarly the emperor’s imperial garden at Chengde, interests, his current work at Sydney Bishu shanzhuang, or the ‘Mountain Estate University and his views on the future of to Escape the Heat’. The final shape of this Asian art studies in Australia. particular garden was established in the late Qianlong period, a state of development It has been just a year since Stephen took on that now disguises the fact that the garden’s the position of Lecturer in Asian Art History, design and construction altered significantly and while his academic background in over time. Using a cross disciplinary approach Chinese art history stretches from the Song drawing, for example, on disciplines such as to the Qing Dynasties, it is the early 18th cartography and astronomy, Stephen has been century which seems to attract him the most building a picture of how the garden altered as a relatively young field for serious study by over time, in turn reflecting the shifting historians of Chinese art. priorities and viewpoints of its successive imperial masters. Stephen holds degrees in the history of art There is a great deal of diverse and valuable and architecture, Asian history, and East Asian In this way, Stephen believes that art historians work on Asian art in Australia at the moment, studies from Brown University (Providence, can contribute to a deeper understanding of though its impact, in Stephen’s view, may be Rhode Island, USA), where he earned his AB, broader historical, cultural and social issues. somewhat lessened for being diffused across and Stanford University, from which he received He notes that there has been relatively little universities, art institutions, and associations. his MA and PhD. Before coming to Sydney, written on the background to the imperial It is for this reason that he, together with ANU Stephen taught art and architectural history art produced in Kangxi’s reign, in part due colleague Dr Olivier Krischer, are organising a of Asia at the University of Pennsylvania, to the lack of available archival material workshop at the University of Sydney, ‘Asian Middlebury College, and the University of and because the formal academy system so Art Research in Australia and New Zealand: Colorado. He has been a research fellow in evident in the Emperor Qianlong’s reign was Past, Present, Future’; scheduled for 15 Garden and Landscape Studies at Dumbarton not yet established. His methodical analysis October 2016, it is free and open to the public. Oaks in Washington, DC, and was most recently of one important garden landscape created in the A. W. Mellon Postdoctoral Fellow at the this period aims to fill this gap. As the organisers have put it: “This project Center for Advanced Study in the Visual Arts at seeks to bring together scholars and curators the National Gallery of Art, also in Washington. We also talked frankly about the current state from across institutions, fields, and practices of Asian art studies in Australia. Stephen to better understand the particular historical An interest in the depiction of Chinese expressed optimism about the strength of developments that have come to constitute landscape and gardens is a common thread Sydney University’s commitment to this the study of Asian art in Australia and through Stephen’s academic work. This has field, with his own appointment building New Zealand. Together, participants will taken him from his undergraduate studies on on the path breaking work of Professor John investigate the historiography of Asian art in Song dynasty literati landscape painting to Clark, recently retired from the Department of Australia and New Zealand and assess our graduate and post graduate work on Ming & Art History. achievements and the current state of the field, Qing garden history, and even included a stint so as to better consider future directions.” as Curator of the New York Chinese Scholars’ The current interest in most universities Garden on Staten Island, NY. His current and cultural institutions is strongly focused Sydney University, Stephen maintains, is now research focuses on the visual culture and on contemporary Asian art, perhaps positioned to build something very unusual built environment of the Kangxi emperor’s disproportionately at the expense of in the field: a comprehensive art history gardens and palaces in the early 18th century. historical studies. Stephen pointed out department interested in articulating a ‘global that the two strands need not be exclusive history’ of art, focused on the early modern As he put it at our interview, Stephen’s broad to one another: as John Clark previously to modern period. While art history studies interest is in exploring how the natural world advocated, contemporary Asian art cannot would be transnational (and not just Asian), around us reflects human experience, in be understood without a foundation in his hope is that the Asian art component will particular, the interaction between the reality history and language. continue to grow through teaching, research, of a place as it existed in a particular period public programming, and an additional staff and its artistic representation. The design Stephen believes that there is strong public member in Asian art through an endowed and construction of imperial landscapes, for interest in Asian art, sustaining dedicated chair. More importantly, however, he sees example, reflect the imperial culture of the galleries, significant original exhibitions, strength in Asian art research– whether at time, providing an insight into how imperial specialist organisations (such as TAASA!), arts Sydney, Melbourne, ANU or anywhere else – power and authority was expressed. festivals and numerous exchange programs. as benefitting the field everywhere, and hopes He also points out that student enrolments are that initiatives he and colleagues in the field His current major project, now nearing high whenever Asian art topics are offered for are undertaking will help expand the field in completion (and publication), examines study at the University. years to come.

TAASA REVIEW VOLUME 24 NO.3 27 RECENT TAASA ACTIVITIES

TAASA President Gill Green with TAASA members

Sheba Greenberg and Harvey Sanders at the

Archaeology in Asia lectures

TAASA IN SYDNEY TAASA visit to the Chinese Bible, Yang Zhichao (2009) TAASA Archaeology in Asia Lecture Series SCAF 10 July 2015 Casting for the King – The Royal Palace At the invitation of Dr Gene Sherman, 18 Bronze Workshop of Angkor TAASA members gathered for a special 1 June 2015 viewing of Yang Zhichao’s Chinese Bible Martin Polkinghorne, Research Fellow in installation, presented by its curator, Dr Claire the Department of Archaeology, Flinders Roberts. This was one of the works in the University of South Australia began his talk recent exhibition Go East drawn from Gene by giving an overview of the valuable work and Brian Sherman’s contemporary Asian art being undertaken by Sydney University collection, the rest on display at AGNSW. archaeologists who have excelled in exploring patterns of occupation at Angkor At first glance, the physical extent of Yang through the use of new technology such as His archaeological researches, leading to Zhichao’s 3,000 ‘found diaries’ installation is LIDAR. This is a remote sensing technique a recently awarded PhD, concentrate on almost overwhelming. Claire’s explanation combining radar and laser technology, which a geographical area initially explored by of how the artist collected the diaries, their can assist in visualising surface features not renowned Russian explorers in three waves historic context, and their content, helped easily identified at ground level (for example commencing in the late 19th century through us to understand how the artist was able because most sites are covered by jungle). to the 1920s. The focus of their attention to transform these objects into a powerful was the remains of Uighur settlements to work which offers an intimate insight into Martin discussed how his own work at the southwest of Lake Baikal in modern the thoughts, lives and circumstances of their Angkor has focused on exploring its material day southern Russia and central northern owners. She also described the practical and culture – how Angkor was built and the craft Mongolia. Modern methods of investigation conceptual challenges faced in installing this economy that made this possible. His search such as LIDAR (see above) have greatly complex work– and how she resolved these. for indicators such as extant raw materials, extended these early archaeological quarries, workshops and unfinished investigations. This was a rare opportunity to get up close sculptures led him to uncover a workshop and very personal with an artwork and the northeast of the palace at Angkor Thom The major site discussed in this talk was viewers came away with a much deeper which suggested (for example by a fragment a 32 sq.km area named Karabalgasin. Its appreciation of its complexities. of wall furnace) that this was a foundry, the most significant structure is a temple with Gill Green first bronze sculpture workshop found in its entrance to the east leading into what Southeast Asia. are thought to be a series of reception halls TAASA TEXTILE STUDY GROUP, Josefa Green and walkways. Only a minute number of SYDNEY artefacts such as inscriptions or murals have Urbanising the Inner Asian Steppe: been found. Roof tiles have, however, been Sharing your Passion: The Allure of Indigo Tang architectural influence on the found in relative abundance and Lyndon 9 June 2015 Eastern Uighur Khaganate Arden-Wong discussed their characteristics Following Margaret White’s previous Uighur-Tang China Architectural Exchange from a structural and decorative point of presentation on indigo textiles, enthusiastic 6 July 2015 view. These plus the construction methods TAASA members gathered around the table Dr Lyndon Arden-Wong presented the last of the walls, the orientation of the temple to show and discuss their favourite indigo of the five presentations in this very well complex and feng shui attributes has led to treasures, both old and new, from different attended series. the suggestion that Tang Chinese models Asian countries, as well as a couple from influenced this Uighur structure. Africa and the Pacific. Some pieces members had designed or made themselves using The presenters in this series, Marika indigo cloth, others had been collected on Vicziany, Bob Hudson, Alison Betts, Martin members’ many travels, or passed down by Polkinghorne and Lyndon Arden-Wong are family members. distinguished in their fields and TAASA has been privileged to have their participation. Their presentations shone a light on the dedication needed to pursue the discipline of archaeology. Geographical, political and strategic hurdles, let alone physical hardship, present a challenge which these scholars have overcome with outstanding results. Gill Green

Lyndon Arden-Wong presenting at the Urbanising (L-R) Moonyeen Atkinson, Sheila Sippel, Margaret McAleese and

the Inner Asian Steppe lecture Lenore Blackwood at the TSG Sydney event, Allure of Indigo

28 TAASA REVIEW VOLUME 24 NO.3 Among the pieces shown – an old batik TAASA IN VICTORIA from which a client would choose the design cloth with a garuda motif from Indonesia, for a tattoo. a woven shoulder cloth from West Timor, a Preview of Mossgreen’s Autumn modern knotted scarf using torn silk waste Auction Series Many manuscripts are made of paper, while from India, and a rare late 19th or early 11 June 2015 others are of richly decorated lacquer. When 20th century Miao panelled skirt, as well as TAASA members joined other guests at a special unfolded, some manuscripts are more than an exquisitely embroidered Miao festival preview of Mossgreen’s Autumn auction. We five metres in length, with extensive text and jacket and matching pleated skirt, all from were able to view and handle a fascinating and vivid illustrations on both sides. Manuscripts Guizhou, China. Then a Japanese child’s eclectic range of ceramics, jades, bronzes and were often wrapped in textiles and tied with winter Kasuri design padded kimono, a other decorative items. TAASA appreciates fabric ties, which all add to the beauty and contemporary Lao silk scarf with a readapted Mossgreen’s hospitality for this event. complexity of the items on display. traditional design from Carol Cassidy’s workshop in Vientiane and also a calendered Walk through of exhibition Gods, Heroes Little has been published on the manuscripts indigo embroidered piece from one of the and Clowns: Performance and Narrative in of Southeast Asia, and not many museums minority groups of Vietnam. South and Southeast Asian Art have focussed on this area of collection. 25 June 2015 Russell generously shared his deep The versatility of indigo was certainly Carol Cains, Curator of Asian Art, led knowledge, experience and passion for these demonstrated! It can be dyed in various members on a tour of the NGV’s exhibition. exquisite manuscripts, and we came away shades, the thread woven on different looms Carol’s commentary brought the exhibition with the sense of having participated in and many traditional and contemporary to life, with its complex narratives, traditions something rare and special. designs created, and the cloth calendered, and images, especially those from great Hindu Boris Kaspiev pleated, stitched and embroidered. epics, the Mahabharata and the Ramayana. Dianne Schultz-Tesmar Some of the works on display had never TAASA IN QUEENSLAND previously been exhibited, and were specially TAASA CERAMICS STUDY GROUP, conserved for this exhibition. See Carol’s Otsukimi Full Moon Viewing SYDNEY article in the June 2015 issue of TAASA Review. 1 August 2015 30 TAASA QLD supporters gathered to A Survey of Thai ceramics Private viewing of Russell Howard’s watch the full moon rise over the Brisbane 25 May 2015 collection of Southeast Asian manuscripts River and were entertained by Brisbane TAASA members in two groups, each 6 August 2015 based koto player Takako Nishibori. After restricted to 10 people, had the opportunity TAASA members and friends were again dinner, guests read Haiku poems composed to closely examine some Thai ceramics at privileged to visit Russell Howard’s for the occasion, with TAASA member Dana the archives of the AGNSW. Ably led by home, this time to view his collection of McCown chosen for best composition. Matt Cox, Assistant Curator, Asian Art, manuscripts, mainly from Thailand and and collector, John Yu, members enjoyed a Burma, dating from 19th to mid-20th century. TAASA QLD Ceramics Interest Group chronological overview of ceramics from the While Russell has only been collecting 18 August 2015 Ban Chiang period (c.2nd century BCE) of these for around two years, the collection TAASA members met at a member’s home, northeast Thailand and other northern kilns of is impressive in its size, scope and quality. and after hearing about Penny Bailey’s recent Kalong, Paan and Phayao, and from the later We viewed manuscripts depicting subjects ceramics based trip to South Korea, swapped southern sites of Sukhothai and Sawankhalok. ranging from traditional Buddhist scenes, to stories about ‘mystery objects’ from their Although many of the earthenware and horoscopes, the diagnosis and treatment of collections. The best story was from Sam stoneware ceramics from 12th -16th c. were diseases such as smallpox, images of different Aherne, with a Chinese piece with intriguing made for domestic and ritual use, they were kinds of elephants and cats, as well as books links to Marco Polo! also traded with neighbouring Southeast Asian countries via maritime routes, particularly when China’s ceramic trade was halted around the 15th c. Bodies ranged from more heavily potted clays to very finely crafted pieces. Glazes were mainly underglaze (iron brown or black) with some celadon glazes. Decoration was either delightfully freehand style or carefully incised. Margaret White

John Yu with TAASA members examining Thai Viewing Southeast Asian manuscripts from Russell Howard's TAASA QLD members Win Lee, Anne Kirker and Bob Kirker

ceramics at the AGNSW's storage facility collection by TAASA Vic members have an impromptu koto lesson from Takako Nishibori.

Photo: John Pryke TAASA REVIEW VOLUME 24 NO.3 29

TAASA MEMBERS’ DIARY SEPTEMBER – NOVEMBER 2015

TAASA IN NSW TAASA TEXTILE STUDY GROUP, The exhibition focusses on works from TAASA Symposium: SYDNEY the NGV’s Asian collection and includes The Magic of Metal: Jewellery Traditions The TSG now meets in the Annie Persian, Chinese, Japanese and Vietnamese in Asia Wyatt Room at the S.H. Ervin Gallery, ceramics, indigo dyed textiles from China, Saturday 19 September 2015, 10am – 1pm Observatory Hill in Millers Point Japan, Southeast Asia, Central Asia and UNSW Art & Design (COFA), from 6.00 – 8.00pm. India, and works from Egypt, England Paddington, Sydney and Italy. Light refreshments provided. $15 Lecture theatre EG02 This is a free event but bookings are members, $20 non-members. The venue essential. RSVP: [email protected] The focus of this symposium is jewellery is in close proximity to Wynyard Station by 27 November 2015. crafted from metal by peoples of mainland and parking is available on site. Southeast Asia and Korea. The objects Email enquiries to Marianne Hulsbosch For further information on TAASA themselves, the traditional techniques at [email protected]. Victoria events contact Boris Kaspiev by which they were crafted and how on 0421 038 491. The TSG will be meeting on Tuesday contemporary craftsmen adapted these 13 October and Tuesday 10 November. techniques will be explored. The forming TAASA IN QUEENSLAND Topics to be advised. of collections - the challenges and hazards TAASA QLD Textile Interest Group - will contribute an illuminating narrative Saturday 5 September from 2pm TAASA IN VICTORIA to these presentations. An afternoon of talks and hands-on TAASA end-of-year party and viewing Speakers: Wendy Parker (UNSW Art & practical demonstrations of hand died of private collection Design), Truus Daalder (Collector and textiles. Examples of Indian Telia Rumals Thursday 12 November 6-8pm major lender to A Fine Possession exhibition - natural dyes in ikats - will be shown, Join us for TAASA’s end of year at PHM), Min-Jung Kim (Curator Asian with participants invited to make a small celebration and a viewing of the Asian art Arts & Design, Museum of Applied Arts sample in a dye bath, using Japanese collection of Boris Kaspiev, with its focus & Sciences). dyeing techniques. The afternoon - which on Himalayan and Mongolian art, Asian $45 members: $50 non-members. includes an afternoon tea and talks about textiles, Chinese funerary ware and recent Refreshments available. textiles of Southern India will be led by acquisitions. At the viewing, Dr David Dana McCown. Enquiries and bookings: Jillian Kennedy Templeman and Dr Andrea Di Castro will Free of charge. Enquiries to Mandy Ridley at [email protected] or tel: introduce their recent book Asian Horizons, at [email protected] 02 9958 7378 published in honour of the great scholar of

Please note new date. Asia, Professor Giuseppe Tucci. UQ Art Museum Artist Self Portrait Prize Cost: $20 members, $25 non-members. Friday 13 November from 6pm Numbers limited. Refreshments will This year’s curated show includes works TAASA End of Year Party and be provided. The St Kilda address from Australian based Asian Artists Bazaar will be advised on registration. including Lindy Lee and Guan Wei, and Tuesday 1 December 6-8pm RSVP: [email protected] by after the opening, please join TAASA S.H. Ervin Gallery, Observatory Hill, 5 November 2015 QLD supporters afterwards for a meal at Sydney. Hawken Village. RSVP to Sushma Griffin Featuring the return of the TAASA Member viewing of Exhibition Blue: at [email protected] Bazaar, with Asian related books, Alchemy of a Colour journals and artefacts of all kinds. Sunday 6 December 2015, 2 – 3pm TAASA QLD Ceramics Interest Group Clear out your cupboards – A tour of the NGV’s exhibition with Carol Tuesday 1 December, 7pm donations gratefully accepted Cains, Curator of Asian Art. Blue: Alchemy Our end of year gathering will look at the by contacting: of a Colour will explore how artists have world of Blue and White. Enquiries to [email protected] created works in the blue and white James MacKean at [email protected]. Further details to come but put palette using a wide range of methods and Location with RSVP. this date in your diary! styles, to produce unique and exquisite works of art. Blue reveals the fascinating metamorphosis of pattern, form and motif stemming from the global trade of these works, and the tales told through the use of this colour in ceramics, textiles, woodblock prints and paintings.

30 TAASA REVIEW VOLUME 24 NO.3 WHAT’S ON: SEPTEMBER - NOVEMBER 2015 A SELECTIVE ROUNDUP OF EXHIBITIONS AND EVENTS

Compiled by Tina Burge

ACT Asia and the Pacific. Reflecting the latest More Ink than Ocean: The art of writing creative developments in our region, the in Islam Myth + Magic - Art of the Sepik River, 8th APT will include performance, video, Art Gallery of South Australia, Adelaide Papua New Guinea kinetic art, figurative painting and sculpture. 7 August 2015 – 27 March 2016 National Gallery of Australia, Canberra Major new commissions include a sprawling 7 August – 1 November 2015 structural installation of found materials by Presents 1,000 years of Islamic calligraphy India’s Asim Waqif and an elegant suspended from Iran, India and Indonesia. Among the Myth + Magic brings together pieces from sculpture by South Korea’s Haegue Yang. In highlights is the magnificent illuminated the Sepik River that are held in Australian addition, artists from Mongolia, Nepal, the manuscript, ‘Mathnavi’ of Jalal al-Din collections and the National Museum and Art Kyrgyz Republic, Iraq and Georgia will be Muhammad Rumi (1641), and the work Gallery of Papua New Guinea. The exhibition represented for the first time. of the famous calligrapher, Muhammad features sculptures, masks and other objects Hussein Kashmiri (d.1620), on whom the made for ritual and performance purposes The special focus projects in APT8 are Indian emperor, Akbar the Great, bestowed in a time when spirits and ancestors were Kalpa Vriksha: Contemporary Indigenous and the title ‘The Golden Pen’. integral to daily life. Vernacular Art of India and the Melanesian For further information go to: For further information go to: performance project Yumi Danis (We Dance), www.artgallery.sa.gov.au www.nga.gov.au/exhibitions which emerged from a creative exchange in Ambrym, Vanuatu, in 2014. VICTORIA Malu plaque, 19th

century, Papua New In addition to the exhibition itself, APT8 Gods, Heroes and Clowns - Performance and Guinea, East Sepik encompasses APT8 Live, an ongoing Narrative in South and Southeast Asian Art Province, wood. NGA program of artist performances and projects; NGV International, Melbourne collection. Purchased a conference as part of the opening program; 1 May – 4 October 2015 1977, acquired from extensive cinema programs; publication, and Anthony Forge 1977 activities for kids and families. Explores visual and performance art inspired For further information go to: by the many narratives that pervade www.qagoma.qld.gov.au/whats-on/ South and Southeast Asia. Works include exhibitions/apt8 storyteller’s cloths, shrine and temple hangings, manuscripts and paintings, masks SOUTH AUSTRALIA and puppets.

Gond Paintings from the Collection Blue - Alchemy of a Colour of Barrie and Judith Heaven NGV International, Melbourne Art Gallery of South Australia, Adelaide 15 November 2015 – 16 March 2016 NSW Now showing until 8 November 2015 Cobalt blue pigment and indigo blue dye are James Nguyen: Exit Strategies The paintings of the Gond people of central two of the most distinctive and influential 4A Centre for Contemporary Asian Art, India are exhibited for the first time at AGSA. colourants employed by artists, particularly Haymarket Sydney The Gond people are the largest tribal group across Asia. The exhibition explores blue and 4 September - 10 October 2015 in the world and their homelands are in white, revealing the metamorphosis of pattern, central India. Over a millennium, or longer, form and motif stemming from global trade, An exhibition by Vietnamese-Australian artist Gond’s agrarian society evolved a distinctive and their use in ceramics, textiles, woodblock James Nguyen that reflects upon the artist’s aesthetic and religious identity in which prints and paintings. experience of living in a factory in SW Sydney ancient indigenous spirituality merged with with his family during the 1990s in an effort to more recent Hindu traditions. Includes Persian, Chinese, Japanese and save a failing textile business. Commissioned Vietnamese ceramics, indigo dyed textiles by 4A, Nguyen’s new body of work explores Gond villagers traditionally painted the from China, Japan, Southeast Asia, Central the complexities of familial relationships as walls of houses with talismanic symbols, Asia and India. migrants in an adopted country. including forest deities, sacred animals and For further information go to: plants, using natural pigments. The artists www.ngv.vic.gov.au QUEENSLAND first adopted the use of synthetic colours on Lecture: Valour, Myth and Pageantry: canvas in the early 1980s. A feature of the The Horse in Indian Art The 8th Asia Pacific Triennial of brilliantly coloured paintings is the complex NGV International, Thursday 15 Oct, 11am Contemporary Art (APT8) decorative patterns inspired by natural The Queensland Art Gallery, designs, such as seen in woven fibres, plant Gallery of Modern Art, Brisbane foliage and fish scales, which are unique to Carol Cains, Curator of Asian Art, explores 21 November 2015 – 10 April 2016 each artist. the varied roles of the horse in Indian courtly For further information go to: www. life and mythology as illustrated in the NGV exhibition The Horse. Free event. This APT will include works by over 80 artgallery.sa.gov.au artists from over 30 countries throughout

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